No. 37.] 
 
 A MANUAL 
 
 FLOWER PAINTING 
 
 IN OIL COLOURS FROM NATURE. 
 
 ! INSTRUCTIONS FOR PRELIMINARY PRACTICE j 
 
 ALSO A- SECTION ON 
 
 FLOWER PAINTING IN WATER COLOURS, 
 
 ETC. 
 
 THREE ILLUSTRATIONS. 
 BY W. J. MUCKLEY. 
 
 * Author of the *' StudenVs Manual of Artistic Ariatomy^^* ** Handbook on the 
 I Use of Colours^ Vehicles^ etd,f etc^" ** Manual on Fruit and Still Life 
 ■f , Painting, in Oil and Water Colours,*' etc., etc. 
 
 t % FIFTH EDITION. 
 
 ^xs proijat artificetn. 
 
 LONDON: 
 
 WINSOR & NEWTON, Limited, RATflBONE PLACE, W 
 
 Price One Shilling. 
 
anb latist ^olormait 
 
 eC 18, r^lFFiU ST. C»> 
 EliBLlD •:• ^ 
 
Digitized by the Internet Arcliive 
 in 2013 
 
 littp://arcliive.org/details/manualonflowerpaOOmuck 
 
A MANUAL 
 
 OS! 
 
 FLOWER PAINTING 
 
 IN OIL COLOURS FROM NATURE. 
 
 WITH 
 
 INSTRUCTIONS FOR PRELIMINARY PRACTICE; 
 
 ALSO A SECTION ON 
 
 FLOWER PAINTING IN WATER COLOURS, 
 
 ETC. 
 
 THREE ILLUSTRATIONS. 
 
 BY W. J. MUCKLEY. 
 
 Author of the "Student's Manual of Artistic Anatomy," Handbook on the Use of 
 Colours, Vehicles, etc., etc.," " Manual on Fruit and Still Life Painting, in Oil and 
 neater Colour," etc., etc. 
 
 FIFTH EDITION. 
 
 ^rs probat artificcm. 
 
 LONDON : 
 
 WINSOR & NEWTON, Limited, 38, RATHBONE PLACE, 
 
Sheppard and St. John, Printers, 6, St. Bride Street, Ludgate Circus, E.C. 
 
ant) ^rtist €oloni 
 
 •:• DUBLID ••• 
 
 CONTENTS. 
 
 Elementary Study 
 
 Drawing in Outline from Nature ... 
 Painting in Monochrome from Casts 
 The Imitation of Objects of Still Life 
 The Habit of Continuous Work ... 
 The Materials Necessary for Painting in Oil 
 How to Set the Palette— List of Colours 
 Mixture of Tints 
 Preliminary Practice in Foliage 
 Orange and Brown Flowers— The Wallflower 
 Pink Flowers — The Primula 
 Blue Flowers — The Gentian 
 Red Flowers— The Scarlet Poppy 
 Yellow Flowers— The Daffodil 
 Red and Pink Roses 
 White Roses 
 
 The Best Grounds for Flower Painting 
 A Charcoal Sketch Recommended ... 
 Opposition of Light and Dark 
 Composition of Lines, &c. 
 
 The Study of the Character of Plants, both in the Flowers 
 
 and Foliage 
 Garishness in a Flower Painting ... 
 The Front Flowers in a Picture 
 S hapes of Flowers 
 
 The Careful Imitation of Nature ... 
 
 Properties Necessary to be Acquired by the Flower Painter 
 Backgrounds 
 Sky Backgrounds 
 
 Vehicles or Media to be used in Oil Painting 
 Groups of Flowers in Vases 
 Illustrations 
 
 Painting in Water-Colour 
 Introduction of Chinese White ... ... 
 
 Water Colour Mediums 
 Paper and Panel Stretchers 
 
 Brushes for Water-Colour Painting, &c. ... ... 
 
 The Colours Employed, &c. 
 
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PREFACE. 
 
 The numerous applications which the Author has 
 received during the last few years, and is still receiv- 
 ing, to give instructions in Flower Painting, have 
 induced him more than anything else to accede to a 
 request of the publishers, to write this manual. It is 
 at present quite impossible for him to communicate 
 the required information in any other way, and it 
 is hoped that the object thus sought may, to some 
 extent, be obtained. The suggestions he has ventured 
 to offer are the outcome of his own personal practice, 
 together with a long intercourse with Art students. 
 
 W. J. M. 
 
INTRODUCTION. 
 
 From the earliest times, and in the various countries 
 where Art has flourished, painting flowers, as well as 
 the study of them, has always formed a favourite 
 occupation. All civilized communities appear to have 
 vied with each other in their desire to attach deep 
 significance to flowers. 
 
 In Egypt, the lily of the Nile — the lotus — was a 
 sacred symbol of the priest, and this flower, with the 
 palm and papyrus, was interwoven with much of their 
 religious worship, in the form of figurative decoration. 
 
 The public buildings of the Egyptians were also 
 richly adorned with these objects in a conventional 
 manner, and at all times they seemed to be amongst 
 the first materials in the minds of the Egyptian artist, 
 or the priest, whether for the decoration of the palace, 
 the Temple, or the tomb. 
 
 Flowers also formed some of the chief materials 
 mentioned in Biblical records, for the enrichment of 
 the Temple and the shrines of worship. 
 
 In China and Japan, flowers have been the in- 
 
8 
 
 INTRODUCTION. 
 
 signia of power and dominion for many centuries 
 past, and they were also emblematical of deity, and 
 Buddhistic symbolisms. 
 
 In Persia, the storehouse for the painter and deco- 
 rative artist was to be found mainly in the kingdom of 
 flowers. And in the East generally, flowers them- 
 selves, as well as their representations, were chosen 
 as a means for secret intercommunication ; and many 
 a tale has been told, and many a verse measured 
 in record of their own loveliness, and inherent signifi- 
 cance, as well as descriptive of their charmed media 
 for intercourse. 
 
 " In Eastern lands they talk in Flowers, 
 
 They tell in a garland their loves and cares 
 Each blossom that blooms in their garden bowers, 
 On its leaves a mystic language wears ! " 
 
 Flowers have been employed symbolically, conven- 
 tionally, and in a decorative form, in Europe more 
 especially, from a remote period. 
 
 In the ancient legends of France is recorded the 
 mysterious origin of the use of the iris, or the fleur- 
 de-lys, with which the sword, the sceptre, and the 
 shield were adorned. 
 
 In Sweden, the lily, the violet, and the amaranthe, 
 have their historic relations. In our own country 
 flowers take a very prominent place. The five-petalled 
 rose of York and Lancaster now blossoms in the 
 British arms, and both the natural and the heraldic 
 
INTRODUCTION. 9 
 
 thistle and the shamrock are acknowledged with affec- 
 tionate remembrance, by the inhabitants of a great 
 part of this realm. With the Greeks, flowers had an 
 undying significance. They were the ornament of 
 the altars of their gods. Youth and beauty were 
 adorned with them at their fetes. The priests wove 
 them into their religious service, and they were also 
 constant emblems of rejoicings at their festive boards. 
 
 Floral crowns were wrought for their poets, their 
 philosophers, and their heroes. Flowers were also 
 present at birth ; they were introduced in profusion 
 at the nuptial ceremonies; and while they accompanied 
 every occasion of mirth and happiness throughout life, 
 they were also brought in the saddest hour as fitting 
 emblems to adorn the tomb. 
 
 In some of the records which have come down to us 
 respecting the fine arts of ancient Greece are particu- 
 lars relating to the painting of flowers by Greek 
 artists, and much attention appears to have been paid 
 to this branch of art by them. 
 
 In ancient Rome, and in Pompeii and Herculaneum, 
 we have also discovered that flower painting had a 
 marked purpose to perform ; but this was more 
 especially in the hands of the ornamentists of those 
 countries, in the enrichment of architecture, in the 
 decoration of dresses, and in the ornamentation of 
 objects of luxury, as well as those of common use. 
 
 It is, therefore, no wonder that in modern times the 
 
lO 
 
 INTRODUCTION. 
 
 subject should have received increased consideration 
 and new life, flowers and foliage forming, as they 
 do, the principal source for enrichment from which the 
 ornamentist may derive his information. 
 
 In the present day the flower painter, the flower 
 draughtsman, and the decorative artist have received a 
 special call in almost endless directions. 
 
 Apart from the exercise of skill in pictorial art, and 
 natural imitation, the study of flowers and foliage, 
 with a view to conventional adaptation, may always be 
 appropriately and profitably employed in every kind 
 of manufacture, where an ornamental expression is 
 desirable. 
 
 It will be seen, therefore, that the study of flowers 
 and foliage for industrial purposes alone has a very 
 wide and important bearing. It may not only supply 
 a means of livelihood to a large number of art workers 
 of both sexes ; but it may also largely contribute to 
 the usefulness, the refinement, the enjoyment, and 
 the wealth of a nation. 
 
A MANUAL 
 
 ON 
 
 DRAWING AND PAINTING FLOWERS. 
 
 ELEMENTARY STUDY. 
 
 In the preparation of this manual it is the writer's 
 desire to be of practical use to the earnest worker. He 
 therefore suggests that before any attempts are 
 made, either to sketch or paint from Nature, a short 
 course of elementary study be pursued. Indeed, it is 
 absolutely necessary that this be done, or the result 
 cannot be satisfactory, but will only end in mere 
 amusement and childish pastime. 
 
 If the student has not had practice in the elements 
 of art, he should now commence by making a few 
 good outlines in lead pencil from flat copies, such as 
 are supplied to the Government Art Schools of the 
 kingdom. They should be of a simple nature at first, 
 and from good ornamental scrolls and details. They 
 may not be very interesting, but with or without the 
 aid of a teacher they will suggest all that is necessary, 
 provided they are executed in a painstaking manner. 
 
12 
 
 ELEMENTARY STUDY. 
 
 Studies should afterwards be made either in chalk 
 or lead pencil, from shaded lithographed copies of any 
 well-drawn object, so long as it is not very difficult, 
 and will not take too long a time to execute. 
 
 It may here be remarked that hurry of any kind 
 that may be felt at this stage must be persistently 
 repressed, for on careful and painstaking work will 
 depend all subsequent success. After a few studies 
 of the kind alluded to have been made, practice with 
 water-colour may be attempted from f^at copies : 
 these should be as simple as possible, and w ithout 
 any background whatever. The studies should be 
 imitated with scrupulous care, and without the least 
 attempt at sketchyness or " show off.^^ After a little 
 practice of this kind has been pursued, the student 
 must turn to work perhaps a little less attractive, but 
 none the less essential, namely outlining from a plaster 
 cast. It may consist of a small ornament, or group 
 of foliage. Two or three good drawings will be suffi- 
 cient, so long as they are well executed. 
 
 The next stage is the most important of all the rest, 
 namely, shading in lead pencil or chalk, from the cast 
 from which the outline drawings have previously been 
 made. Several very careful studies of this kind must 
 be executed, until a fairly correct representation of 
 the cast has been obtained. It is not difficult to accom- 
 plish this; it only requires steady, patient, and persis- 
 tent work for a few hours a day, and for about three 
 
DRAWING IN OUTLINE FROM NATURE. 13 
 
 months ; and the student who succeeds in passing 
 through this short course of study satisfactorily, will 
 certainly be able in a little time, to draw well in outline 
 from Nature. In order to offer legitimate encourage- 
 ment to the learner, the writer may here state, that 
 amongst the numerous students who have come under 
 his charge, and who passed through the routine 
 recommended, he has never found one to fail, in 
 carrying forward his work successfully. The most 
 patient and persistent have of course been the most 
 successful in the end. 
 
 Before commencing to work from the cast, it should 
 be placed near to a window^ on the north side of the 
 room, and with the light falling on it from the left. 
 This position will ensure good and well-defined 
 shadows, which may be imitated easily. 
 
 When it is intended to outline from casts, they 
 should be placed so that the shadows on them are not 
 too wide, or they will obscure the smaller forms and 
 more delicate details. 
 
 DRAWING IN OUTLINE FROM NATURE. 
 The short course of work thus advised having been 
 duly accomplished, an effort to draw in outline from 
 Nature may be made. A small spray of leaves may 
 be taken, and placed in a convenient left-hand light, 
 and a sheet of white paper should be placed behind 
 it to form a background. Commencement must be 
 
14 PAINTING IN MONOCHROME FROM CASTS. 
 
 made by first drawing the stems of the foliage and 
 then the middle fibres of the leaves, after which the 
 forms of the leaves themselves must be completed 
 with a thin and accurate line. When this has been 
 done, some of the larger lateral fibres of the leaves 
 may be added, but the smallest should not be copied. 
 
 Sufficient practice having been obtained, a larger 
 spray of leaves may be attempted, and the student 
 may complete this stage of his training by making 
 two or three careful outlines, and shaded studies 
 from flowers and foliage in combination. The 
 flowers selected at first should be simple in form, 
 such as the fuchsia, the convolvulus, the wild rose, 
 the dog daisy, and many others furnishing beautiful, 
 easy, and instructive forms for study. 
 
 A few drawings from nature, made in light and 
 shade, with chalk, pencil, or sepia, should follow. 
 Practice of this kind employed in obtaining memo- 
 randa and sketches of plants, &c., will be found most 
 valuable during the whole of the career of the flower 
 painter; and it should not only be pursued while in the 
 study of art, but also when in the full practice of it. 
 
 PAINTING IN MONOCHROME FROM CASTS. 
 
 The course of study just detailed would be all the 
 more complete if Paintings in Monochrome were made 
 in imitation of a cast of fruit and foliage, or some 
 portion of it. This would tend to confirm the previous 
 
THE IMITATION OF STILL LIFE. 15 
 
 practice, and would be a fitting introduction to the 
 use of colour. 
 
 Suitable casts may readily be procured from any 
 good plaster figure maker, and they are inexpensive. 
 
 Studies^ either from casts, or from Nature, may be 
 made in oil colour, on the usual prepared oil paper 
 block supplied by the artists' colourman. 
 
 The colours best suited for Painting from Casts 
 are 
 
 Blue and Ivory Black. Yellow Ochre. 
 
 Raw Umber. Light Red. 
 
 These five colours, broken into tints with Flake 
 White, will produce every gradation necessary for the 
 imitation either of a w^hite or stone-coloured cast. 
 
 For the sake of initiating practice in colour, 
 it may be desirable to place a coloured drapery back- 
 ground, of some broken hue, behind the cast for 
 imitation, in which case other colours must be added 
 to the list. 
 
 THE IMITATION OF OBJECTS OF STILL LIFE. 
 
 To proceed in due order, and presuming that good 
 studies have already been made from casts, the 
 student is nearly ready to begin to paint directly from 
 Nature. But before commencing to paint either 
 flowers or foliage, it is still better to spend a 
 little time in painting a few stationary objects. This 
 
l6 THE HABIT OF CONTINUOUS WORK. 
 
 is best done from shells, pottery, a group of books, 
 stuffed animals, drapery, &c., &c. These objects 
 should be imitated in the most minute manner possible, 
 not for their own sake so much as to gain experience 
 before going to Nature. The eye and the hand 
 being thus trained, success must result in any future 
 work of the kind that may be undertaken. 
 
 THE HABIT OF CONTINUOUS WORK. 
 
 In carrying out the advice offered, the habit of close 
 and continuous application for several hours together 
 must be formed ; and, consistent with thoroughness in 
 the work, the utmost speed should be aimed at. This 
 experience will be found most valuable when copying 
 Nature ; indeed, without sufficient speed, all work 
 from natural flowers will be defective. 
 
 To paint a rose properly often takes from seven 
 to nine hours' continuous work, and no idea must 
 be entertained of beginning a flower on one day, 
 and finishing it the next. Flower Painting, in this 
 respect, is unlike every other branch of pictorial art. 
 The objects are constantly moving, and cannot be 
 re-arranged. 
 
 Mere sketches or translations, or impressions 
 of Nature may be executed in a very short time ; 
 but works of this character ought not to find favour 
 with the student, or influence him at first. 
 
 In order to obtain the likeness of a flower before it 
 
MATERIALS NECESSARY FOR PAINTING. 1 7 
 
 changes its position, it is best to mix the required 
 tints in imitation of the object before commencing 
 to paint. The White should be duly thinned with 
 poppy oil and oil of lavender ; copal varnish may 
 be added to the slowly drying colours. 
 
 THE MATERIALS NECESSARY FOR PAINTING IN OIL. 
 
 The requisite materials for flower painting in oil 
 colours may be now conveniently enumerated. 
 
 A small easel and mahl stick, with a palette of light- 
 coloured w^ood, and of medium size, must be procured. 
 On the palette at the far side, and near the left hand, 
 three or four dippers must be placed. They should 
 contain raw linseed and poppy oil, copal varnish, and 
 oil of lavender. The linseed and poppy oil are for 
 the purpose of thinning colours when required, but 
 which should always be employed thickly, rather than 
 otherwise. The . copal varnish is necessary to assist 
 the colours to dry when needed, and must be diluted 
 occasionallv with the oil of lavender when it becomes 
 too thick for use. The oil of lavender may also be 
 used to thin colours in combination with either linseed 
 or poppy oil. 
 
 The brushes, for the most part, should be round red 
 sable, especially for the edges of leaves and flow^ers ; 
 but an effort must be made to cultivate the general 
 use of the hog tool, so that ultimately it may as much 
 as possible take the place of the sable brush. 
 
i8 
 
 HOW TO SET THE PALETTE. 
 
 HOW TO SET THE PALETTE.— LIST OF COLOURS. 
 
 The brightest and warmest colours must be placed 
 at the top of the palette, and gradually descending to 
 the bottom with the colder and darkest colours, in 
 the following order. Yellow^s, bright and dull, bright 
 and dull Oranges, bright and dull Reds, including the 
 Madders, Blues, light and dark, Browns, and Blacks. 
 
 All colours must be arranged on the outer edge of 
 the palette, with the exception of White, which must 
 occupy the middle. 
 
 When expense is of no consideration, the ordinary 
 oil-Golour box, with its usual contents, should be pro- 
 cured from the artists' colourman, with the colours 
 specially selected as follows. The list is a full one, 
 and will serve all purposes for future work. 
 
 WHITES. 
 
 Flake White. Zinc White. 
 
 YELLOWS AND ORANGES. 
 
 Cadmium Yellow (to glaze over 
 
 Zinc White). 
 Cadmium Orange. 
 Yellow Carmine.^ 
 Yellow Ochre. 
 
 Orient Yellow (for studies which 
 will not be exposed to 
 light). 
 
 Raw Sienna. 
 Aureolin. 
 
 Burnt Sienna (to glaze over 
 
 Flake White.) 
 Orange Vermilion. 
 Yellow Carmine and Rose 
 
 Madder in combination. 
 
 ^ Yellow Carmine is frequently called Yellow Madder, and sold 
 as such. 
 
LIST OF COLOURS. 
 
 19 
 
 Chinese Vermilion. 
 Vermilion. 
 
 Field's Extract of Vermilion. 
 Scarlet Vermilion. 
 Light Red. 
 
 Reds. 
 
 Indian Red. 
 Rose Madder. 
 Pink xMadder. 
 
 Extract of Madder Carmine. 
 Crimson Lake (for studies only). 
 
 Blues. 
 
 Genuine Ultramarine (in powder). Prussian Blue, used in combina- 
 tion with other colours for Dark 
 Green (for studies only). 
 Cerulean Blue. 
 
 Ultramarine Ash. 
 French Ultramarine. 
 Cobalt. 
 
 Greens. 
 
 Opaque Green Oxide of 
 
 Chromium. 
 Terre Verte. 
 
 Transparent Green Oxide of 
 
 Chromium. 
 Viridian. 
 
 With the Greens named, all shades and varieties 
 may be made by combining with them, Yellows, 
 Blues, and some of the Yellow Browns, according 
 to the hue required. Tints of green are formed in 
 endless variety, by adding White to the above 
 combinations. Very useful varieties of green may 
 also be formed by the lighter Cadmiums and Blue 
 Black, broken with Zinc White into the required 
 tints. 
 
 Purples. 
 Purple Madder. 
 
 Rose Madder in combination with either Genuine Ultramarine, 
 French Ultramarine, or Cobalt Blue. 
 
 The above colours glazed over Zinc White, will 
 produce fine purples, varying from pink to bluish 
 
20 
 
 MIXTURE OF TINTS. 
 
 hues. Opaque purple tints may be made by adding 
 Zinc White to the colours named. 
 
 Browns and Blacks. 
 
 Vandyke Brown. 
 Raw Umber. 
 Burnt Umber. 
 Sepia. 
 
 Brown Pink for studies, and 
 when kept from a powerful 
 light. 
 
 Brown Madder. 
 
 Burnt Sienna, this colour is 
 valuable when used with other 
 Browns, Blacks, Blues, or 
 Greens, but it imparts an 
 opaque quality to transparent 
 colours. 
 
 Blue Black. 
 
 Ivory Black. 
 
 The colours which have been indicated are not 
 only sufficient for all purposes of painting, but they 
 are, moreover, permanent, with the exceptions 
 pointed out. 
 
 MIXTURE OF TINTS. 
 All tints should be composed of the fewest colours 
 possible. No bright colours should enter into dull 
 tints ; but they should be produced either from Blue 
 or Ivory Black, and the permanent metallic oxides 
 described in the Author's Handbook on Colours, and' 
 reduced by Flake or Zinc White, according to the 
 depth required. 
 
 PRELIMINARY PRACTICE IN FOLIAGE. 
 
 The studio having been duly chosen, with a light 
 from a small window on the north side, preparations 
 may be made to paint directly from natural foliage. A 
 
PRELIMINARY PRACTICE IN FOLIAGE. 
 
 small bunch of rhododendron leaves will make a 
 good subject, because it will be little liable to move 
 for several hours together. It should be placed in a 
 vase or glass vessel, of pleasant shape and colour, as 
 this also may form apart of the study for imitation. If 
 the leaves be of young growth, the tints must be mixed 
 as follows, and before beginning to work : — 
 
 Opaque Green Oxide of Cobalt Blue. 
 
 Chromium. Blue Black. 
 
 Cadmium Yellow. Yellow Ochre. 
 
 These colours must be broken into tints more or less 
 with Zinc White, beginning with the Yellow Greens, 
 both light and dark, and ending in tints composed of 
 Blue Black and White. 
 
 A little Raw Umber may be mixed with Viridian, for 
 the darkest shadows. Most likely the White will be 
 too thick for use when squeezed from the tube, a little 
 poppy oil may then be added. In winter time oil of 
 spike lavender should be mixed with the oil. 
 
 Should the leaves be old, the same colours may 
 be used, with more Cobalt Blue and Blue Black 
 added. Any accident or decayed part in the leaves 
 which may be present must also be copied ; and Light 
 Red and some of the Yellows will usually be found 
 sufficient to do this, with an addition of some of the 
 colours already referred to. 
 
 The study should be made on a dark grey ground, 
 and must be carefully drawn before beginning to paint. 
 
22 
 
 ORANGE AND BROWN FLOWERS. 
 
 Grey millboard is an excellent material to make 
 studies upon. When a canvas or any other material 
 is used, the grey ground should be prepared upon 
 it beforehand, and it must be quite dry previously to 
 being worked on. A ground of the same colour must 
 also be placed behind the foliage itself, so that the true 
 colour of the leaves may be the better ascertained. 
 
 ORANGE AND BROWN FLOWERS.— THE 
 WALLFLOWER. 
 
 The common wall-flower with its foliage may next 
 form the subject for imitation ; as it will remain with- 
 out moving for many hours together, and may be easily 
 obtained w^hen in season. The background should be 
 the same as before. Yellow and Orange Cadmiums 
 will serve for the yellows in the lighter parts of 
 the flower ; and the darker parts can be imitated with 
 Rose Madder, Brown Madder, Vandyke Brown, Yellow 
 Ochre, Blue Black, and Burnt Sienna. The addition 
 of Zinc White will sometimes be necessary in the 
 formation of greys. 
 
 The foliage may be copied with the two Oxides of 
 Chromium, Raw Sienna, Blue Black, Cobalt Blue, and 
 White, w^ith perhaps a little of the lighter Cadmiums. 
 Here, again, the vase which contains the flower should 
 be carefully copied, and the object on which it may 
 stand must also be intelligently suggested as to colour 
 and effect. 
 
PINK FLOWERS. 
 
 23 
 
 PINK FLOWERS— THE PRIMULA. 
 
 A pink primula growing in a pot should next be 
 procured for another study, as this plant is also 
 stationary for a long time together. But the colour of 
 the flower will require more careful consideration than 
 was necessary with the wallflower. The ground on 
 which it is intended to be painted must be perfectly 
 white. 
 
 The forms of the flowers must be carefully sketched 
 with Rose Madder^ and, inasmuch as the tints of the 
 plant cannot be imitated with opaque colour, a com- 
 bination of Pink Madder and Cobalt should be used 
 for the purpose. This must be glazed on the top of 
 the white ground, making the tints redder or purpler, 
 in accordance with the colour required. In some parts 
 of the flower opaque colour maybe employed, and the 
 two colours alluded to, with Zinc White, will supply this. 
 A little copal varnish should be mixed with the trans- 
 parent colour ; and, when it becomes sticky, and too 
 thick for pleasant work, it should be thinned with oil 
 of lavender. The yellow centres of the flower will be 
 matched with the paler Cadmium. 
 
 No doubt, it will be found impossible to give 
 the true colour of the primula, at this stage of ex- 
 perience ; but good practice will have been acquired 
 by the effort; and when the natural flower is removed 
 from comparison with the painting, the latter will not 
 
24 BLUE FLOWERS. 
 
 look disagreeable. The leaves of the plant may be 
 imitated with the Greens already enumerated, with 
 more or less Yellow and White added as required. 
 The over-lapping of the leaves will now present new 
 difficulties for imitation, and the darkest shadows must 
 not be made too green — of this there is ahvays 
 danger at first with the student. The greens in dark 
 situations nearly always partake of a brown hue. 
 
 The pot in which the plant may be growing, should 
 also be copied ; as the discolorations and grey green 
 markings, which most likely will be present, will serve 
 as a good lesson in imitation. Additional experience 
 having been acquired in the last study, the student 
 may now go a step further in his work by taking the 
 gentian as the next object for imitation. 
 
 BLUE FLOWERS.— THE GENTIAN. 
 
 The ground for the gentian must be pure White, 
 and the local colour of the flower must be glazed over 
 it, using Ultramarine and Cobalt Blues, in combina- 
 tion and separately, the white underground showing 
 through to give brilliancy. 
 
 When expense is of no consequence, the real Ultra- 
 marine Blue — Lapis Lazuli — is preferable to the Facti- 
 tious, being brighter and purer in colour. The deep 
 shadows of the flower may be made by exhausting the 
 full strength of the Ultramarine, adding Purple Madder, 
 
BLUE FLOWERS. 25 
 
 and sometimes a little Ivory Black. The lighter parts 
 of the flower, as well as the transmitted lights, will be 
 best imitated by glazing over the White ground 
 with the pure Blue colour. Any points of detail 
 in the flower will now be easily imitated, after the 
 foregone experience. White in combination with 
 Blue must be avoided, when a pure colour is required, 
 as the quality of the Blue entirely changes by the 
 addition of White. When Blue Greys are needed. 
 White may then be mixed with one of the Blues 
 named. A greenish tint will often be seen near the 
 centre of the flower, and which may be produced by 
 Opaque Green Oxide of Chromium, and White. 
 
 The foliage will easily be imitated with the Oxides 
 of Chromium, one of the Yellows, and White ; and in 
 the deep shadows. Ultramarine Blue, and Yellow 
 Carmine will be found useful. 
 
 In the deepest recesses of the foliage of most plants, 
 Vandyke Brown should be used. For the shadow parts 
 of deep red flowers, it is of much value ; and as a 
 glazing colour for backgrounds, and employed in com- 
 bination with Yellow Carmine^ and Transparent Green 
 Oxide of Chromium, no colour can approach it. 
 
 It may here be remarked that Vandyke Brown 
 must never be used with opaque colour, much less 
 in combination with White. It must be employed 
 either alone, in full body, or as a glazing colour in 
 admixture with other transparent colours. For the 
 
26 
 
 RED FLOWERS. 
 
 purpose of giving richness and depth to the deepest 
 parts of a dark background it is, in intelligent hands, 
 a perfect pigment, and is quite durable. 
 
 When Blue Flowers verge more or less into purple, 
 Rose Madder may be added, according to the tint 
 required. 
 
 The larkspur, the iris, the wild hyacinth, as well 
 as the cultivated varieties, may all be imitated with 
 the colours named. Some of the turquoise blue 
 flowers, such as the forget-me-not, the pale larkspur, 
 and the corncockle, are best imitated with Cerulean 
 Blue. The tints in the larkspur vary much ; and while 
 some are of the purest blue colour, others in the same 
 flower are of a dull rose pink, and may be easily 
 imitated, either with Vermilion and White, or Rose 
 Madder and White. 
 
 All Blues lose their richness by the addition of 
 White. Indeed they are no longer blues, but partake 
 more or less of the nature of greys. Therefore, in 
 order to obtain a full bright blue colour, either light 
 or dark, it is always necessary to glaze the pure blue 
 pigment over a very white ground. 
 
 RED FLOWERS.— THE SCARLET POPPY. 
 
 A scarlet poppy may furnish the next object for 
 study. This flower changes rapidly as soon as it is 
 gathered. It is therefore desirable to make prepara- 
 
RED FLOWERS. 27 
 
 tions as to materials, &c., before the flower is brought 
 into the painting room. 
 
 The following colours for the imitation of the poppy 
 will be found necessary, and should be mixed in 
 various combinations before sitting down to paint. 
 
 Orange Vermilion. Rose Madder 
 
 Extract of Vermilion. Purple Madder. 
 
 Chinese Vermilion. Madder Carmine, 
 
 Zinc White must be used to lighten certain colours 
 with, and the Orange Cadmium may also be employed 
 to give reflected and transmitted lights. 
 
 The dark patches of colour often found at the 
 bottom of the petals of the poppy, and the stamens, 
 can be imitated with Purple Madder and Cobalt, 
 or French Blue in combination; sometimes a little 
 White and Blue Black may be added. The light 
 sheeny gloss may be produced with Blue Black, Rose 
 Madder, or ordinary Vermilion, and White. The 
 stamens should be made as much of as possible, 
 w^ithout contradicting truth ; as they give an excellent 
 contrasting effect to the surrounding red petals of 
 the flower. 
 
 The red poppy brought into opposition with white 
 flowers, produces a very beautiful and harmonious 
 effect. 
 
 The foliage of the poppy is quite as attractive as 
 the flower itself, while their harmony and contrast 
 
28 
 
 YELLOW FLOWERS. 
 
 with each other are perfection. It is exceedingly 
 difficult to paint, for immediately it is cut, it not only 
 begins to change in its smaller parts, but in a much 
 shorter time than is necessary to copy it, it sometimes 
 fades altogether^ and cannot be revived. When, 
 therefore, it is intended to paint the poppy and its 
 foliage together, the plant should be grown in a 
 large pot, and in that condition brought into the 
 studio, after its growth is sufficiently developed. 
 
 All other red flowers near in colour to red poppies 
 may be imitated by the pigments recommended, with 
 the necessary modifications by other colours suggested 
 by Nature. 
 
 YELLOW FLOWEKS.— THE DAFFODIL. 
 The following colours are necessary for painting 
 the daffodil with its foliage : — 
 
 Lemon Cadmium, used pure. Raw Umber. 
 
 Cadmium Yellow. Blue Black. 
 
 Orange and Deep Orange Cad- Opaque and Transparent Green 
 
 mium. Oxide of Chromium. 
 
 Yellow Ochre. Cobalt Blue. 
 
 Yellow Carmine. Zinc White. 
 
 Light Red. Flake White. 
 
 After the bloom is fully opened, the daffodil will 
 remain without moving for twelve or fifteen hours 
 together. This will allow of its being outlined care- 
 fully, which must be done with Pale Cadmium, before 
 beginning to paint it. The ground must be quite 
 white and dense. The outer petals of the flower 
 
YELLOW FLOWERS. 29 
 
 should be imitated with Yellow Cadmium, glazed 
 thinly over the ground. 
 
 No pigment will match the brightest lights but Lemon 
 Cadmium, this is, however, somewhat unsafe as to 
 permanency, and should be used quite pure and very 
 sparingly. The rest of the bright tints of the daffodil 
 can be imitated with the deeper Cadmiums, which are 
 all permanent when well prepared, Lemon Cadmium 
 alone being uncertain even when used pure. The 
 shadows of the flower will be produced with Yellow 
 Ochre, Yellow Carmine, Raw Umber, and Blue 
 Black, all combined with Zinc White for the tints 
 required. The deepest recesses should be touched in 
 with the darkest Cadmiums and Light Red. The 
 foliage may be painted with combinations of Greens, 
 produced with Opaque and Transparent Green Oxides 
 of Chromium, Blue Black, and Cobalt Blue, with some 
 of the Yellows named, and broken into tints with 
 Flake White. The darkest shadows of the leaves 
 must be painted with Transparent Oxide of Chromium, 
 Yellow Carmine, and Vandyke Brown combined. 
 
 The daffodil should be put into a light blue root 
 glass, three parts filled with water ; and the wild 
 hyacinth may be placed with it, for the sake of con- 
 trast, and the whole painted together. 
 
 Although the ground immediately under the flowers 
 must be pure white, a dark ground in imitation of 
 some object should be picked in between, as the work 
 
30 RED AND PINK ROSES. 
 
 progresses. All other yellow flowers may be repre- 
 sented with the colours indicated. 
 
 RED AND PINK ROSES. 
 The following colours are necessary for painting a 
 red or pink rose : — 
 
 Rose Madder. Cadmium Yellow. 
 
 Pink Madder. Blue Black. 
 
 Madder Carmine. Cobalt Blue. 
 
 Purple Madder. Yellow Ochre. 
 
 Brown Madder. Zinc White. 
 
 Vermilion. 
 
 The ground must be pure white, and the Madders 
 being mixed with copal varnish, must be glazed over 
 it of the thickness necessary to obtain the brightest 
 hues. 
 
 Tints should also be formed by the admixture of 
 Zinc White with the brightest Madders. But on 
 no account should Flake White be used with them ; 
 and whenever the necessary tint can be obtained by 
 glazing the pure colour over the white ground, this 
 should be done ; as all the Madders have a tendency 
 to change when in combination with an opaque 
 pigment. The purest Madders will change in a day, 
 when mixed with Flake White ; and Crimson Lake, 
 when combined with Flake White, soon loses its 
 colour altogether. It is felt desirable to remark at 
 some length on the use of Lake and the Madders, as 
 they are much required in painting flowers ; they are 
 
RED AND PINK ROSES. 3I 
 
 also more difficult in their application than any other 
 colours, as well as being more liable to change under 
 certain conditions. Sometimes the pink tints of a 
 rose can be nearly obtained with the deepest \'er- 
 milion and Flake or Zinc White, and when this can 
 be done, it is better than using the Madders in 
 combination with White for the purpose. The tints 
 produced by Vermilion and White may not be altogether 
 satisfactory, but they will be found permanent ; while 
 those produced from Madders and Zinc White, will 
 most likely have changed so much in a little time after 
 having been used, that their resemblance to Nature 
 w411 probably be more distant than tints produced by 
 Vermilion and White. 
 
 For the greys of a pink rose, Blue Black and White 
 will usually be found sufficient. An addition of 
 Cobalt Blue, to the Vermilion referred to, may occa- 
 sionally be necessary. 
 
 To imitate the deeper coloured roses, the Vermilions 
 and the Madders should be used without White. It 
 is often best, first to colour the underground with 
 Vermilion and White, in accordance with the depth 
 of the flowers intended to be painted. This should 
 be done soon enough to be quite dry before beginning 
 the painting of the rose upon it. 
 
 Yellow, and even green tints will be found in many 
 red and pink roses, which may be made by the Yellow 
 Cadmium, Cobalt Blue, and White. Ultramarine Blue 
 
32 RED AND PINK ROSES. 
 
 may also be used with the darker Madders for the 
 shadows of the deeper flowers alluded to. To imitate 
 yellow roses, such as the Gloire de Dijon, and the 
 Marshal Neil, does not require the use of the Madders. 
 The Vermilions, with the Cadmiums, Yellow Ochre 
 and Zinc White, are sufficient for the Gloire de Dijon, 
 and the same colours, with the Vermilion absent ; 
 will serve for the imitation of the Marshal Neil. 
 The green tints to be seen in these flowers may be 
 matched by the addition of Cobalt Blue and Blue 
 Black. Opaque Green Oxide of Chromium, with 
 Flake White added, will also be found useful in the 
 formation of light green tints. With regard to the 
 colour of the leaves of most flowers, the use of both the 
 Opaque and Transparent Green Oxides of Chromium 
 is indispensable. These two pigments employed in 
 combination with the Cadmiums, Yellow Ochre, Raw 
 and Burnt Sienna, and some of the Browns, with the 
 addition of Flake White for the lighter greens, will 
 supply a great variety of valuable hues. 
 
 Viridian and Cerulean Blue are also very useful in 
 obtaining the brighter and bluer greens; and combined 
 with Yellow Carmine they furnish charming qualities 
 of green hues, and are fairly permanent. 
 
 For the glossy surface of leaves, a mixture of Blue 
 Black and White is nearly sufficient. An addition of 
 the Greens mixed for the local colour of the leaves 
 may sometimes be requisite. Blue Black, White^ and 
 
WHITE ROSES. 33 
 
 Opaque Green Oxide of Chromium, varying the 
 quantity of each colour, give a beautiful variety of 
 hues for foliage, which are not only true to Nature, 
 but perfectly permanent. 
 
 WHITE ROSES. 
 For painting white roses the following colours are 
 necessary : — 
 
 Flake White. Raw Umber. 
 
 Yellow Ochre. Blue Black. 
 
 Cadmium Yellow. Ivory Black. 
 
 After the Flake White has been brought to a proper 
 consistency with poppy oil, the tints should be formed 
 as follows : — 
 
 Three tints varying in depth, made with Raw Um- 
 ber, Blue Black, and White. Three tints made with 
 Yellow Ochre, Blue Black, and White. Three very 
 light tints made with Ivory Black, Cadmium Yellow 
 and White. One tint for the brightest lights^ made 
 with Zinc White slightly tinted with Cadmium Yellow. 
 
 When mixing these tints^ the palette knife must be 
 held near to the parts of the flower intended to be 
 imitated, in order to see if the tint produced is like 
 the flower : any alteration that may be necessary 
 can then be easily ascertained. Two roses should be 
 placed together in a vase or glass goblet, one in light 
 and the other in shadow, and with sufficient foliage to 
 support and contrast the flowers. A white ground 
 should be adopted. The centre of the flower in 
 
 D 
 
34 WHITE ROSES. 
 
 light, if seen in front, should be first outlined with one 
 of the light grey tints. The outline, and the painting 
 of the rose should proceed together, as it is likely the 
 flower may move rapidly. Every part must be finished 
 as the work progresses, until the outer edge of the 
 rose is reached. The work should then be looked 
 over, when perhaps corrections can be made before 
 the flower entirely changes its position. This will 
 be sufficient for one day's work. The next day the 
 rose in shadow must be painted with the darkest tints 
 alluded to, making what changes in them may be neces- 
 sary in imitation of the flower. It is always desirable 
 to mix fresh tints for each day's work, for it is no real 
 economy to work with colours mixed the day previous, 
 as they would probably be half dry. 
 
 The foliage must now be added to the flowers, and 
 this will most likely occupy another day to finish 
 properly. The background must be painted in be- 
 tween the forms, as in the previous studies, and of a 
 colour and depth suited to the subject. 
 
 Instructions to paint single flower studies having 
 been given, suggestions will now be offered for the 
 arrangement and painting of groups of flowers, and the 
 production of complete pictures. But before going 
 further, it is advisable to remark on the kind of grounds 
 to be adopted for flower paintings. 
 
BEST GROUNDS FOR FLOWF.R PAINTINGS. 
 
 35 
 
 THE BEST GROUNDS FOR FLOWER PAINTINGS. 
 
 Grounds made with Flake White in full body are 
 the best for flower pictures. 
 
 All the works by the old masters which are now in 
 the most perfect state of preservation, were painted 
 either on white or very light grounds. 
 
 Those by Van Huysum, and V'^an Oss, were on 
 grounds of this description, as well as some of the 
 best by Daniel Segers. 
 
 The works by J. M. Baptiste^ Gasper Verbrugen^ 
 Rachael Ruysch, Michael Angelo Campidoglio, and 
 David de Heem, were executed on dark grounds ; and 
 most of them have become so obscure in consequence, 
 that much of the work is scarcely visible. 
 
 It is best to have the grounds prepared by the 
 artists' colourmen^ with three or four coats of white- 
 lead on the top of the usual preparation for canvasses, 
 so that the surface may be perfectly white and dense, 
 and capable of the utmost reflecting power. On this 
 ground alone the full value of any colour that may be 
 laid upon it will be obtained, and there will be less 
 danger of that change which must take [>lace, when the 
 canvas is imperfectly prepared. 
 
 The white lead used in the preparation of the grounds 
 should be mixed with a little slow-drying copal varnish ; 
 this will give elasticity to the white lead, and no dis- 
 coloration need be feared. If a ground be prepared 
 
36 A CHARCOAL SKETCH RECOMMENDED. 
 
 with gold size alone, which is sometimes done, in a few 
 years it will become brittle^ and cracks will show them- 
 selves. The slightest bending of the surface of the 
 canvas will result in cracks and small fissures, when- 
 ever the elasticity has left the paint which may cover 
 it. When, however, a picture is upon panel, this 
 objection will not be so likely to present itself.* 
 
 A CHARCOAL SKETCH RECOMMENDED. 
 
 The character of a flower picture as to composi- 
 tion and effect should much depend upon the nature 
 and size of the flowers intended to form the group, 
 and it is always better to realize the work in advance 
 as far as possible beforehand. 
 
 To do this, a charcoal sketch must be made on a 
 sheet of either hand-made dark grey crayon paper, or 
 the French grey stumping paper, giving the whole of 
 the general effect for the proposed picture. 
 
 The charcoal must be laid on the paper with a broad 
 point in all the darkest parts, and afterwards rubbed 
 flat with the finger. Any part of the charcoal may 
 be removed with a piece of soft stale bread. White 
 chalk may be employed where the lightest flowers are 
 intended to be placed. No more detail must appear 
 in this sketch than that necessary to give the idea 
 of the proposed painting as a whole, and without much 
 regard to Nature. The front and lighter objects may, 
 
 * See the writer's Manual on the Use of Colours," in which the 
 advantage of panels over canvas is pointed out. 
 
OPPOSITION OF LIGHT AND DARK. 37 
 
 perhaps, be rudely sketched in from flowers similar to 
 those intended to be painted in the picture. 
 
 It is sometimes an advantage to make the outline 
 of the flower intended to be painted on the canvas 
 with water-colour. In this case Raw Umber^ to which 
 a little gall has been added, will be found suited to 
 the purpose. 
 
 OPPOSITION OF LIGHT AND DARK. 
 
 It is often desirable to bring the brightest lights in 
 a painting in opposition to the greatest dark, but the 
 dark need not necessarily be large. No work in which 
 this treatment is duly observed, can be either insipid 
 or weak. At the same time it requires caution and 
 experience to do this with proper efi^ect, or the result 
 will be hardness and artificiality. One side of a white 
 or light flower in the front of a picture, may be imme- 
 diately opposed to a dark one, or it may be contrasted 
 by a dark part of the background. But it should be 
 observed that a small portion only, on one side of the 
 chief light, maybe treated in the manner described, or 
 the effect will be a spot. 
 
 In matters of this kind, a correct eye and judgment, 
 arising from the necessary experience^ will alone indi- 
 cate what may be desirable on this head ; but great 
 facility will be afforded by the study of good pictures 
 of any kind. 
 
38 
 
 COMPOSITION OF LINES. 
 
 COMPOSITION OF LINES, &c. 
 
 After a sufficiently large mass of light has been 
 arranged in a flower picture, its form and direction 
 should be assisted by pleasantly composed lines, to 
 which the stems of the flowers and their foliage will 
 often contribute. In flower paintings, as in all other 
 subjects, the chief lines of the composition should be 
 visible, and contrasted by others less conspicuous. 
 
 A degree of elegance should always be sought in 
 composing a painting of flowers, but ornamental con- 
 ventionality should be carefully avoided ; it is, 
 however, an error of the commonest occurrence. 
 Composition of line is of the first importance, but 
 immediately it becomes too manifest and obtrusive, to 
 the same extent it is objectionable. 
 
 The ordinary flower groups in vases are of the type 
 of arrangements to be avoided. They are usually 
 very weak^ as well as worn out by repetition ; and it 
 is, therefore, desirable that other kinds of composition 
 should be more generally adopted by the flower 
 painter. 
 
 THE STUDY OF THE CHARACTER OF PLANTS, BOTH 
 IN FLOWERS AND THEIR FOLIAGE. 
 
 Great pains must be taken to give the true cha- 
 racter of flowers in combination with their foliage. 
 
 Careful drawings in black and white chalk should 
 be constantly made on tinted paper, showing the 
 
STUDY OF THE CHARACTER OF PLANTS. 39 
 
 peculiar growth and structure of plants. By such 
 efforts alone will the student become imbued with a 
 true feeling for the natural forms of flowers and 
 foliage. And when it is found necessary to make 
 certain changes in the positions of stems, as is 
 occasionally required, their true character is not so 
 likely to be affected. 
 
 It is not alone sufficient to paint an imitation of a 
 flower and its foliage piecemeal, as the whole of the 
 natural growth, and characteristics of the plant 
 generally should be brought out, and well expressed, 
 whenever it is possible to do this. 
 
 The flower of a poppy, for example, may have been 
 represented very truthfully in a picture, but if the 
 general growth and character of the plant is absent, 
 its chief beauty and charm will be wanting. 
 
 No doubt, it will sometimes be found difficult to 
 accomplish this when painting a group of mixed 
 flowers. In such a case it will be best to make out the 
 secondary masses of light with well-developed stems 
 and leaves of the principal flower or flowers compos- 
 ing the group, and the same kind of foliage may also 
 be repeated in the background of the work. 
 
40 GARISHNESS IN A FLOWER PAINTING. 
 
 GARISHNESS IN A FLOWER PAINTING. 
 
 Garishness and commonness must be avoided at any 
 sacrifice in a flower picture ; and should these features 
 present themselves in any degree in the course of the 
 work, they must be removed at once, for no other 
 qualities can either redeem them or atone for them. 
 Too many bright coloured flowers in light will pro- 
 duce these effects, when not supported by sufficient 
 half tint and shadow. 
 
 The same kind of flowers which are painted in light, 
 should be repeated in half tint, and sometimes in 
 shadow. When due sacrifice is made in a work by the 
 introduction of a proper amount of half tint, the 
 result, in skilful hands, will be refinement and interest, 
 instead of the qualities above alluded to. 
 
 THE FRONT FLOWERS IN A PICTURE. 
 
 The front flowers in a picture, which must always 
 be very light in colour, when not white, ought not to 
 be too much cut out from the surrounding parts, so as 
 to form a spot of light. Many of the old flower 
 painters were not in the habit of duly regarding this 
 particular, and the defect has also been followed in 
 modern times. The general breadth of a work must 
 ever be considered from first to last. 
 
 To add light to light, and dark to dark, is a golden 
 rule in painting, and its effects are seen in good pic- 
 tures of any subject. 
 
SHAPES OF FLOWERS. 
 
 41 
 
 SHAPES OF FLOWERS. 
 
 The shapes of natural flowers are more or less im- 
 perfect, and it is the function of the painter to select 
 those which are the best suited to his wants, and to 
 remove imperfections whenever they may occur. 
 The petals of a rose may be unduly ragged, or too 
 long on the outside, or too short and regular in places, 
 or the addition or removal of petals may be an im- 
 provement. A judicious alteration in this respect 
 is always necessary on the part of the painter. 
 
 The arrangement of leaves also needs careful dis- 
 crimination, and the disposition of the stems of 
 flowers is of importance. Nature rarely ever supplies 
 all that is wanted in one plant. A stem maybe rather 
 too straight, or too curved, for the situation intended 
 in a picture. It may be too thin, or too thick, and it 
 is often difficult to make the requisite alterations in a 
 plant consistent with the composition, without inter- 
 fering with the truth of its growth. Such changes 
 are often attempted, but frequently only lameness and 
 unnatural curvature are exchanged for natural truth. 
 
 CAREFUL IMITATION OF NATURE. 
 
 All the petals of a flower which are pleasantly 
 disposed by Nature, however numerous, must be 
 painted as correctly as possible, and unless they are 
 properly imitated no mere generalization wull suffice. 
 
42 
 
 CAREFUL IMITATION OF NATURE. 
 
 Generalization should never be attempted, unless the 
 painter is, or has been, capable of actual imitation, 
 or most likely the result will be emptiness. 
 
 Suggestive work by the student usually betrays 
 ignorance and inability to those who are properly 
 informed. With the imperfectly educated, however, 
 work of this description is usually very captivating; and 
 the empty and impertinent manner in which a rose, a 
 dahlia, or a chrysanthemum has sometimes been 
 scrambled through, so to speak, is looked upon by 
 them as the refinement of breadth and treatment ; 
 while, in reality, it only indicates impatience, inca- 
 pacity, and sham. 
 
 When it is intended to paint a flower having many 
 petals, a part of it only should be outlined before 
 commencing the painting. In some instances a flower 
 will move so rapidly that it w^ould be useless to out- 
 line the whole of it before beginning to paint. Every 
 part must be flnished at once, and even then con- 
 siderable skill is required in order to unite the parts 
 properly, which may have moved during the progress 
 of the work. It is only after much experience that 
 difficulties of this kind can be overcome in a satis- 
 factory manner. 
 
 Flower painting by many has been looked upon as 
 easy of acquisition. This is certainly a mistake, and 
 we have only to turn to the work of an exhibition 
 room for proof to the contrary. Numerous works of 
 
ACCESSORIES. 43 
 
 this class are no doubt produced yearly, but it is to 
 be feared that very few indeed are even of a second 
 rate character. They rather show a want of art 
 education on the part of the producer, with a very 
 imperfect power of imitation ; or, at best, they are 
 mere imitative studies, indicating no knowledge of 
 art beyond this. Doubtless imitative skill is of the 
 first importance in paintings of this description, but 
 this is only one of the qualifications which ought to be 
 possessed by the flow^er painter. Composition, light 
 and shade, and colour, are all quite as essential for a 
 true and complete work of art; and whichever of these 
 qualities is absent from a flower picture, it is, at least 
 in that particular, imperfect. 
 
 PROPERTIES TO BE ACQUIRED BY THE FLOWER 
 PAINTER. 
 
 The flower painter should acquire vases^ and glass 
 vessels of pleasant shape and colour for future useful- 
 ness. Pieces of old drapery, old cabinets, and carved 
 panels are especially desirable. But the introduction 
 of such objects ought to be a matter of much dis- 
 crimination, or their effect in a painting will be to 
 encumber it. 
 
 A panel or a piece of drapery thrust at the back, or 
 placed in the foreground of a picture, is often so much 
 lumber, and ought not to find a place in it. 
 
 There ought always to be consistency, and fitness 
 
44 BACKGROUNDS. 
 
 in the selection of accessories in a work, and objects 
 should never appear in it, unless warranted by common 
 sense, and a raison d'etre." 
 
 BACKGROUNDS. 
 
 No part of a background should be painted by the 
 mere rubbing in of colour in an uncertain manner. 
 
 Definiteness of purpose ought to be carried out in 
 a background, with as much certainty as in any other 
 part of the work, for upon the proper treatment of 
 it may depend the success of the picture. Whatever 
 may be the materials employed for a dark background, 
 it must be painted rather thinly, and the brush marks 
 should show through more or less to the surface on 
 w^hich it is painted. This method of working gives a 
 transparency which it is nearly impossible to obtain 
 in any other way. A background may be painted 
 over thinly several times, but the underground should 
 never be lost. 
 
 The small figure pictures of the Dutch school are 
 recommended for study, as exponents of technical 
 difficulties, and as showing proper systems of work- 
 ing. Those by David Teniers the younger, in our 
 National Gallery, are painted in the manner described, 
 and all Art students, irrespective of their particular 
 bent, may examine them to advantage. 
 
 Backgrounds may be formed from portions of furni- 
 
SKY BACKGROUNDS. 45 
 
 ture, or carved wood panels, which, if applied with dis- 
 crimination, always look satisfactory and natural. 
 For the beginner, they furnish excellent practice. 
 When the panel is carved, it should always be care- 
 fully drawn, before any attempt is made to paint it, and 
 all hurry or slovenliness in carrying this out must be 
 avoided. Of course, the markings will not be made 
 out so distinctly as when dealing with an object in 
 the foreground, and the student should try to see the 
 subject and the background at the same time, as this 
 will enable him to obtain the due relations of both in 
 his picture. Very good effect may be obtained by the 
 introduction of architectural details into backgrounds, 
 but they require much skill in arrangement. A part of 
 a pilaster, or a well-selected ornamental moulding, is 
 w^ell suited for a background. It may be treated 
 either as light, or dark, whichever the natural colour 
 of the stone or marble may suggest. Parts of a 
 building may also be introduced, and as it recedes 
 from the foreground, more and more of it will come 
 into view. This treatment not only gives increased 
 interest to a work, but it much enriches it. 
 
 SKY BACKGROUNDS. 
 A sky, with distant landscape dimly defined, forms 
 a . telling background for a flower picture. This arrange- 
 ment in a triangular form would constitute a part of 
 the general light in the painting, and the lower portion 
 
46 SKY BACKGROUNDS. 
 
 would tell as dark, and middle tint. !t is best to have 
 a triangular composition, when a sky background is 
 adopted. The treatment of the subject as to focus and 
 light, with their due support, must be worked out as 
 in other compositions. Care should be taken to intro- 
 duce light and dark flowers or foliage against the sky, 
 with some parts shown beyond those in the immediate 
 foreground, which may form the front of the group ; or 
 the subject will appear to be cut out too much against 
 the sky, and look ^'made-up" and unnatural. The 
 darkest parts of the picture in such compositions will 
 be near the bottom of the canvas. 
 
 When painting a flower from Nature, whether a 
 mere study, or a part of a group, the background that 
 is intended to appear in the painting, or the general 
 colour of it, should be placed behind the object itself. 
 This practice should always be observed. 
 
 A background must progress with the work gene- 
 rally, and should neither be prepared in advance of it, 
 nor should it be added after the work is finished. 
 
 Whatever object is intended to appear in the 
 immediate foreground, apart from those which form 
 the subject itself, should be very carefully placed and 
 imitated. Any mistake or carelessness in regard to 
 this practice, may be detrimental to the picture. 
 
VEHICLES OR MEDIUMS. 
 
 47 
 
 VEHICLES OR MEDIUMS TO BE EMPLOYED IN OIL 
 PAINTING. 
 
 Copal, or a combination of Copal and Amber 
 Varnish, is the best basis for mediums for oil painting. 
 With colours which dry slowly, such as the Lakes or the 
 Madders, pure Copal Varnish should be used. It should 
 also be employed combined with Amber Varnish, and 
 a little raw linseed oil, with all other colours that do 
 not require much assistance in drying. 
 
 The Copal Varnish medium will become too thick 
 in hot weather during a day's painting, for working 
 freely. This is in consequence of evaporation, when 
 Oil of Spike Lavender must be added. A little in- 
 convenience at first may be experienced in the use of 
 this medium, but practice will soon overcome it. No 
 other vehicles are at all comparable with Copal and 
 Amber Varnish. Flake White only requires thinning, 
 being a dryer in itself. 
 
 The writer has discontinued the use of Turpentine 
 for many years past, having found it injurious as a 
 diluent to certain colours^ Oil of Spike Lavender in its 
 place, being preferable in all respects, and its odour is 
 not disagreeable, which cannot be said of Turpentine. 
 
 GROUPS OF FLOW^ERS IN VASES. 
 It is often difficult to paint flowers in vases without 
 giving the whole of the picture a commonplace appear- 
 ance. And even the productions of Van Huysum, and 
 Van Oss, in which vases have been employed, are not 
 
48 GROUPS OF FLOWERS IN VASES. 
 
 free from this charge. By skilful treatment^ no doubt 
 this expression may be avoided, but it is seldom done. 
 
 A well-selected vase of glass or porcelain will some- 
 times assist the effect of a flower picture ; but it should 
 never be placed in a work for its own sake, apart from 
 its proper and fitting relation to the picture as a whole. 
 
 The introduction of beautiful drapery or other artistic 
 properties isequally reprehensible, unless theirpresence 
 may be reasonably accounted for. The flower painter 
 will probably find it difficult at times to vary his produc- 
 tions ; nevertheless, inconsistencies and eccentricities 
 of all kinds should be avoided as much as possible. 
 
 ILLUSTRATIONS. 
 
 Three illustrations have been given in this manual, 
 showing to some extent the method of proceeding, 
 when it is intended to paint a complete picture. 
 
 The introduction of more might perhaps have been 
 advantageous, but this would have increased the cost 
 of the book beyond what was felt to be desirable. 
 
 The picture is small which the plates represent. 
 This was a necessity in a work of the present dimen- 
 sions, in order that as little diminution as possible 
 might take place in the reproduction. 
 
 Each illustration may be considered as one-third the 
 size of the original painting. 
 
 Plate I, indicates the commencement of a picture. 
 It may be looked upon as the work of two con- 
 secutive days ; each part finished at one painting. 
 
ILLUSTRATIONS. 49 
 
 A few faint touches, as shown in this plate, may now 
 be made, indicating the position of the flower, &c., 
 for the next day's work ; but which must be removed 
 to the ground before beginning to paint. 
 
 Plate 2, represents the picture in a more advanced 
 state, and with two more days' work added. 
 
 The background and the remainder of the fore- 
 ground will now be carried forward together, the 
 general effect being suggested by the charcoal sketch, 
 which will have been prepared in accordance with the 
 directions already given. 
 
 Plate 3, represents the picture completed, four more 
 days' w^ork having been spent upon it. 
 
 A tinted background has been adopted for the two 
 incomplete studies for the sake of contrast, but a 
 white ground must be used to paint upon. 
 
 As a work approaches completion, the hand mirror 
 should be used, and the picture being viewed in 
 reverse, any shortcomings will all the more readily 
 present themselves. The mirror must not be em- 
 ployed too frequently, or its aid will be ineffective. 
 
 It is also well to put a work aside for a few days 
 after completion, keeping it from view, and at the end 
 of that time to re-examine it critically, when certain 
 alterations will no doubt suggest themselves. All 
 good pictures, and more especially those by the old 
 masters, appear to have received the repeated con- 
 sideration and corrections now recommended. 
 
PAINTING IN WATER-COLOURS. 
 
 Water-colour painting at the present time has two 
 distinct phases. The one is in the application of 
 colour without the admixture of Chinese White, and 
 the other is in the employment of colours combined 
 more or less with that material. 
 
 The early school of water-colour painting had not 
 the opportunity of using Chinese White, as it is a 
 preparation of comparatively recent manufacture. 
 Experiments had been made by the first painters in 
 water colours, by mixing white lead with their pig- 
 ments to give them body, and this of course proved 
 disastrous to the works in which it was employed. 
 
 The impropriety of using white lead was, however, 
 soon discovered, and the practice was immediately 
 abandoned. White chalk was also mixed with w^ater 
 colours for the purpose of giving body to them, and 
 examples of its use are to be seen in some of the w^orks 
 by Paul Sandby, and a few^ other contemporary water- 
 colour painters of this country. But w^hite chalk 
 being so difficult to manage w^ith proper effect, soon 
 fell into disuse ; and pure water-colour was again re- 
 sorted to by the painters of the middle period of 
 
INTRODUCTION OF CHINESE WHITE. 51 
 
 the art ; amongst the chief of whom were Varley, 
 Cox, Dewint, Nicholson, Robson, Cotman, Proui, and 
 Turner of Oxford. 
 
 INTRODUCTION OF CHINESE WHITE. 
 
 After the discovery of the fitness of Chinese White 
 to enter into combination with water-colour, it was 
 readily adopted by several of the best English painters, 
 and from that time to the present, it has constantly 
 been employed. 
 
 Some use it sparingly and with apparent timidity, 
 while others have employed it without restraint ; 
 notably William Hunt, Frederick Walker, Burne Jones, 
 and John F. Lewis. In the hands of some painters of 
 repute it appears to be exceedingly difficult to manage 
 well, while with others it has been applied with 
 due effect, and with great facility. When skilfully 
 used, there can be no doubt whatever as to its 
 value, and the works into which it enters will 
 probably be more enduring than those painted with 
 pure water-colour alone. Chinese White in flower 
 painting is especially valuable, and by its aid the 
 painter can proceed with the rapidity of oil painting. 
 It is doubtful whether the true likeness of either 
 flowers or foliage can be obtained so well without it. 
 Painting in pure water-colour occupies so much more 
 time to obtain the desired eftect, than if Chinese 
 White be used in combination with it. 
 
52 INTRODUCTION OF CHINESE WHITE. 
 
 In the former process, all lights must be left, the 
 white paper alone having to supply whatever light 
 may be required in the work. 
 
 It is probable that delicacy maybe more easily given 
 by water-colour only, but this frequently degenerates 
 into sketchiness and weakness. 
 
 No material is so well adapted to represent light 
 in any class of subject as Chinese White : in 
 this respect it excels the Flake White used in oil 
 painting ; its particles being more compact and dense. 
 It may be used in a pure state, as an underground for 
 the light parts of a flower picture. It may also be 
 mixed with colours employed in all the lights and 
 half tints^ or it may be used as a ground, and glazed 
 over, in the manner of oil painting. It should not be 
 mixed with colours intended for dark shadows^ as 
 this would immediately produce muddiness ; and even 
 when added to the darker half tints, it requires skill to 
 manage properly. For the smaller lights of flowers 
 and foliage, and their stems, it is exceedingly valuable ; 
 and with its aid more work can be done in an hour, 
 than could be accomplished in a day, with pure water- 
 colour only. 
 
 When painting flowers into a picture direct from 
 nature, Chinese White is of the greatest importance ; 
 as it enables the painter to imitate them in the readiest 
 manner possible, and before they change their position. 
 
MEDIUMS. 
 
 53 
 
 WATER-COLOUR MEDIUMS. 
 
 Mediums of various kinds are used by water-colour 
 painters, and most have their own peculiar formula 
 for the composition of these mediums. The ordinary 
 water-colour megilp, made from tragacanth gum, is to 
 be recommended, so long as it is confined to the lights 
 and light half-tints ; but it should never be used in dark 
 shadows, as the turbid nature of this substance gives 
 them an opaque appearance. A solution of gum arabic, 
 as supplied by the colourman, is usually sufficient 
 for water-colour painting, provided it is pure. It is, 
 however, best to dissolve the gum in water at the 
 time it is required for use. By keeping, it becomes 
 acid, and is then detrimental to most animal and 
 vegetable colours. Glass mediums are also objection- 
 able, as there is always a free acid present. 
 
 PAPER AND PANEL STRETCHERS. 
 
 The paper to be used in water-colour painting 
 should not be hot-pressed," as it often tends to give 
 work a weak and insipid appearance, and it is not 
 pleasant to paint upon. 
 
 For mere studies of flowers from Nature, double 
 elephant paper is the best, and the ordinary sketching- 
 block is to be recommended for the sake of con- 
 venience. 
 
 For pictures, the paper should be strained on panel 
 
54 
 
 PAPER AND PANEL STRETCHERS. 
 
 stretchers, unless they are very small, when stout 
 paper boards will be sufficient to keep it flat. It 
 is often difficult to strain paper on a stretcher, par- 
 ticularly if it be of large dimensions, and it is some- 
 times desirable to have the work done by the colour 
 man. Nevertheless it may be performed satisfactorily 
 by the painter, after a few experiments. 
 
 A large work should rarely be commenced on a panel 
 stretcher as indicated ; but on a drawing-board, with 
 the paper strained in the ordinary way, and of larger 
 dimensions than the work is ultimately intended to be. 
 This practice will enable the painter to arrange and 
 deal with the composition generally when desirable. 
 More or less space may then be given to either 
 side, or the top or bottom of the work, as already 
 alluded to in the fore-gone remarks on painting in oil 
 colour. After these points have been duly considered 
 and adjusted, the work may be removed from the 
 drawing-board and placed on the panel stretcher. But 
 it will be seen that this undertaking is attended 
 with some risk, as the picture will have to be suffi- 
 ciently wetted at the back after it has been removed 
 from the board, before it can be finally secured to 
 the stretcher. Nevertheless, any inconvenience or 
 difficulty which may present itself at first, will soon be 
 removed by experience. 
 
BRUSHES. 
 
 55 
 
 BRUSHES FOR WATER-COLOUR PAINTING, &c. 
 
 Sables in quills, or the ordinary round red sable 
 brushes which are employed for painting in oil, are 
 well suited for water colour painting. 
 
 Even hog tools are often advantageous, especially 
 when painting backgrounds. They should always be 
 freed from colour after use, and carefully drawn to a 
 point before being allowed to dry. 
 
 The brush must never be put in the mouth to 
 free it from excess of colour or water ; but should be 
 drawn along a wad of blotting paper kept in readiness 
 for the purpose. 
 
 A papier mache palette with a white japanned 
 surface, and of the size usually employed in oil 
 painting, is much the best for water colours. It 
 affords more space than the ordinary pottery palette, 
 is very light, and is not easily injured. 
 
 The order to observe when setting the palette 
 for water colours, is the same as that advised for oil 
 painting. 
 
 When not in use, the palette should be kept from 
 dust, the colours may then remain on it for a long 
 time, and until they are used up. Neither Chinese 
 White nor gum should be allowed to dry on a papier 
 mache palette^ or the surface may be injured by them. 
 
 Of all the preparations of water colours now 
 offered by the colourman, those in tubes are perhaps 
 
56 COLOURS EMPLOYED. 
 
 the best, as they furnish a ready means of obtaining 
 a supply of colour for the palette ; they may be a little 
 more costly to purchase at first, but a great saving of 
 time is effected by the use of them. For the amateur, 
 however^ who does not pursue painting daily, the 
 colours in pans may be better suited. 
 
 When it is intended to leave the white paper to 
 represent light, instead of using Chinese White, care 
 must be taken not to injure the surface of it by too 
 much rubbing or washing. 
 
 For studies of flowers, or small pictures, a soft lead 
 pencil may be used in outlining ; but for larger works 
 charcoal is preferable, so long as it is not allowed to 
 damage the surface of the paper. An outline must 
 not be too dark, or it may be difficult to obliterate it. 
 
 COLOURS EMPLOYED. 
 
 Most of the colours employed in oil painting are 
 equally eligible for water-colour painting. White- 
 lead must, however, be replaced by Chinese White. 
 At the present time a number of very bright and 
 beautiful water-colour pigments are prepared for 
 industrial purposes by French makers, which are 
 well suited for the work intended, and are of 
 considerable value. But on no account should they 
 be employed by the flower painter, as they are not 
 
COLOURS EMPLOYED. 57 
 
 only fleeting in themselves, but they damage all 
 colours with which they come in contact. 
 
 Lemon Cadmium^ which is very uncertain in oil 
 colour, will last a long time unchanged when mixed 
 with Chinese White, or when glazed over it. For 
 flowers of a full yellow colour it may be used in 
 preference to any other pigment, being more lasting 
 than the ordinary Lemon Yellows.* When Lemon 
 Cadmium is used it is well to protect it at once with 
 glass from the air. 
 
 Most of the remarks which have been made with 
 reference to the conduct of a picture in oil colour, also 
 apply to painting in water-colours, and the latter are 
 so simple and easy in their use, that but little more is 
 necessary to be said on the subject. 
 
 The only drawback in the application of Chinese 
 White, is in the change which takes place after 
 drying, as it becomes somewhat lighter. Still, by 
 practice the necessary calculation will be attained, 
 almost intuitively, and all difficulties in its proper 
 management will pass away. 
 
 A bright deep purple flower is best imitated in 
 
 * Messrs. Winsor & Newton have prepared a Lemon Yellow from 
 Barium, which is not only full in colour, but it resists the usual 
 chemical tests, and used in water-colour, it is neither affected by 
 light nor foul air. Should this pigment not suffer when in combina- 
 tion with Flake or Zinc White in oil-colour, its value cannot be over- 
 rated, as it must then take the place of all other yellows of this 
 description. 
 
58 COLOURS EMPLOYED. 
 
 water colour by using Ultramarine, and Rose Madder, 
 separately, and in an unmixed state ; laying the blue on 
 first, and when dry, washing the Madder on the top of 
 it, without disturbing the Blue. When Chinese 
 White is used as a ground to paint upon, instead 
 of the paper, care must be taken that it is not 
 washed up ; this requires quickness and lightness of 
 handling. 
 
 Chinese White should be laid on the paper thinly 
 when intended as a ground, or it will be liable to 
 scale off. 
 
 Bright blue flowers are best represented by glazing 
 Cobalt, or Ultramarine Blue, over Chinese White, and 
 a tolerably bright effect may be obtained when white 
 paper alone is substituted as a ground. 
 
 As in oil colour, pure Ultramarine is the only pig- 
 ment that will produce a true blue in water-colour, 
 and being glazed over Cobalt, a fine rich effect is 
 obtained. 
 
 The shadows of a blue flower may be imitated by 
 using Purple Madder and Ivory Black, either in com- 
 bination with Ultramarine, or glazed over it, varying 
 the quantities of each in accordance with the hue 
 required. 
 
 The colour of roses, whether light or dark, will be 
 obtained for the most part by the Madders. 
 
 Rose Madder and Carmine, glazed over a white 
 ground, whether of paper or Chinese White, will give 
 
COLOURS EMPLOYED. 59 
 
 the nearest approach to the more delicate pink 
 flowers. Cobalt Blue, may be more or less added to 
 the above colours to give the necessary purple hues, 
 and some of the deeper and duller Madders should 
 be used for the shadows. 
 
 The light grey tints to be seen on some of the more 
 delicate roses are best imitated with Cobalt Blue : 
 Payne's Grey will also be found useful. 
 
 For some of the deeper and richer roses, Vermilion, 
 with the darker Madders will be best, and the addition 
 of Ultramarine Blue may also be necessary. 
 
 Studies of foliage, which are intended to be kept 
 from light, may be made with the Oxides of Chromium, 
 the Cadmiums, and Gamboge ; or with any of the Blues 
 named, Brown Pink being added for the richer parts 
 and the dark shadows. 
 
 Brow^n Pink, with Viridian, or French Blue, produces 
 beautiful green hues, but in the presence of sunlight 
 they are not stable, and may only be used for studies 
 kept in the folio. 
 
 The Brow^ns in dark backgrounds are best given 
 with Bistre, Sepia, or Vandyke Brown. 
 
 Both Brown and Purple Madder, with the Umbers, 
 are also useful. 
 
 In the darkest parts of backgrounds, gum-water may 
 be mixed with the colours to give depth. Very dark 
 backgrounds require repeatedly touching over, in order 
 to obtain a sufficient body of colour on the surface ; 
 
6o 
 
 SUGGESTIONS. 
 
 or in a little time they are likely to become lighter, 
 and rotten in appearance. 
 
 Flower painters of all times have but seldom 
 realized that their works should be conducted on the 
 same principles as those acknowledged by figure 
 and landscape painters. Unity, feeling, composition, 
 light and shade, and colour, with other technical quali- 
 ties, ought always to be present in a painting of 
 flowers. 
 
 With students of flower painting, the basis of 
 information, hitherto, appears to have been too 
 limited. They seem to have looked too much at the 
 works of each other, without adequate acquaintance 
 with the general rules of art ; as well as to have lacked 
 a sound, practical training in elementary work. Apart 
 from the course recommended in these pages, it is 
 therefore suggested that the best works of any kind, 
 both by ancient and modern masters, should be care- 
 fully studied. Students should lose no opportunity of 
 making coloured memoranda from them — sufficient to 
 convey an idea of those qualities which may be best 
 transferred to their own pictures. By this practice 
 they will soon discover that the character of flower 
 paintings generally may be raised, and it will also 
 serve as an unfailing help to them in the production 
 of works of this description. 
 
 THE END. 
 
[7.86.28425] 
 
 WINSOR & NEWTON. 
 
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 COLOURS & MATERIALS 
 
 FOR 
 
 OIL COLOUR PAINTING, 
 
 ETC., ETC. 
 
 ^xs pro bat artifi'crm* 
 
 WINSOR & NEWTON, Limited, 
 
 Manufacturing Artists' Colourmen by Special Appointment to 
 
 HER MAJESTY, 
 
 •Enti ^fjcir l^ogal ll^tgfjnesscs tfjc ^xixitt anli }3rinccss of OTalcs* 
 37, 38, 39 & 40, RATHBONE PLACE, LONDON, W. 
 
 1886. 
 
OP THE 
 
 GREAT EXHIBITION of 1851, 
 
 AWAEDED TO 
 
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 (Class II. — Chemistry), for Artists' Colours. 
 
 This was a competitive Exhibition. Messrs. 
 WiNSOR & Newton carried off the only Medal 
 that was awarded to the competitors (English 
 and Foreign) for Artists' Colours. 
 
 OF THE 
 
 INTERNATIONAL EXHIBITION of 1862, 
 
 AWAKDED TO 
 
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 (Class II.— Chemistry. Section A. No. 627). 
 
 The award of a Prize Medal to Messrs. 
 WiNSOR & Newton, for their unequalled 
 display of fine and costly Pigments, was 
 accompanied by the following remarks from 
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 SUBSTITUTE PERMANENT COLOURS FOR THE 
 MORE FUGITIVE PIGMENTS USED BY ArTISTS." 
 
WINSOR & NEWTON'S 
 
 FINELY PEEPARED OIL COLOURS. 
 
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 which have attained their present high reputation by 
 possessing characteristic qualities established by every 
 variety of conclusive test. 
 
 The Pigments used are of the highest and purest quality. 
 
 At the "North London Colour Works," Winsor and 
 Newton, Limited, now possess every facility and appliance, 
 for the production of manufactured colours, and for testing 
 and purifying natural ones. 
 
 Grinding Artists' Colours by machinery was first com- 
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 being invented by them for the purpose. Since that 
 period still further improvements have been made; and 
 at present there exists no machinery which for power and 
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 at all compare with that invented, perfected, and now used 
 by them for grinding Artists' Oil Colours. 
 
 There are no mediums or admixtures in the preparation 
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 and ready for use. 
 
 Briefly, it may be stated, that the best and purest pig- 
 ments, most thoroughly ground in unadulterated Oil, form 
 the ingredients of their Artists' Oil Colours, causing them 
 to take the foremost rank, and to be the colours generally 
 used, both at home and abroad. 
 
 B 2 
 
4 
 
 WIN80B 8r NEWTON, Limited, 
 
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 FINELY PREPARED OIL COLOURS, 
 
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WINS OB 8f NEWTON, Limited, 
 
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 IN COLLAPSIBLE TUBES. 
 
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8 
 
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 twenty Colours, Sable and Hog-hair Brushes, Badger Softener, 
 Chalk, Portcrayon, Palette Knife, Dipper, Oil, Turpentine and 
 Mahogany Palette. 
 
 POUT ABLE BOX. (Illustrated at page 12). 
 
 Price £2 2s. — fitted complete. (Empty Box, 12s.) 
 
 Portable Box : Size 13f inches by 9, If inch deep : containing 
 twenty-two Colours, a general selection of Sable and Hog-hair 
 Brushes, Badger Softener, Chalk, Portcrayon , Oil and Turpentine, 
 Palette Knife, Capped Dipper and Mahogany Palette. 
 
 DOUBLE PORTABLE BOX. (Illustrated at page 13.) 
 
 Price £2 12s, 6d. — fitted complete. (Empty Box, 16s.) 
 
 Double Portable Box: Size 13i inches by 9, 2^ inches deep: 
 containing twenty-four Colours, a general selection of Sable 
 and Hog-hair Brushes, Badger Softener, Chalk, Portcrayon, 
 Palette Knife, Capped Dipper, Oil, Turpentine, Mahogany 
 Palette and three Prepared Boards 13 inches by 8. 
 
 ACADEMY BOX. (Illustrated at page 13.) 
 
 Price £3 3s. — fitted complete. (Empty Box, 19s. 6d.) 
 
 Academy Box : Size 12f inches by 9, 4^ inches deep : containing 
 thirty Colours, with a general selection of Sable and Hog-hair 
 Brushes, Badger Softener, Chalk, Charcoal, Portcrayon, Palette 
 Knife, Double Capped Dipper, Varnish, Oil, Turpentine, Mahogany 
 Palette and three Prepared Boards, 12 inches by 8. 
 
 STUDIO BOX, No. 1. (Illustrated at page 14). 
 
 Price £3 13s. 6d.— fitted complete. (EnSpty Box, £1 5s.) 
 
 Studio Box, No. 1 : Size 12f inches by 10, 4 inches deep : con- 
 taining thirty-two Colours, with a general selection of Sable and 
 Hog-hair Brushes, Badger Softener, Chalk, Portcrayon, Steel and 
 Ivory Palette Knives, Capped Dipper, Mastic Varnish, Pale 
 Drying Oil, Linseed Oil, Turpentine, Mahogany Palette and 
 three Prepared Boards, 12 inches by 9. 
 
 C 
 
18 
 
 WINSOE 8r NEWTON, Limited, 
 
 STUDIO BOX, No. 2. (Illustrated at page U). 
 Price £5 6s. — fitted complete. (Empty Box, £1 lis. 6d.) 
 Studio Box, No. 2 : Size 15 inches by 11, 4 inches deep : contain- 
 ing forty Colours, with a general selection of Sable and Hog-hair 
 Brushes, Badger Softener, Chalk, Charcoal, Portcrayon, Steel 
 and Ivory Palette Knives, Double Capped Dipper, Mastic 
 Varnish, Pale Drying Oil, Linseed Oil, Turpentine, Mahogany 
 Palette, and three Prepared Boards, 14 inches by 10. 
 
 STUDIO BOX, No. 3. (Illustrated at page 16). 
 
 Price £12 128. — fitted complete. (Empty Box, vs^ith Brush Washer 
 and two Rimmed Dippers, £3 10s.) 
 
 Studio Box, No. 3 : Size l7f inches by 12^, 5i inches deep : con- 
 taining sixty Colours, with a general selection of Sable and 
 Hog-hair Brushes, Badger Softener, Chalk, Charcoal, Portcrayon, 
 Steel and Ivory Palette Knives, Oil Scraper, Double Capped and 
 Rimmed Dippers, Jointed Mahl Stick, Mastic and Picture Copal 
 Varnishes, Turpentine, Pale Drying, Linseed, and Poppy Oils, 
 Mahogany Palette and three Prepared Boards, 17 inches by 12. 
 Also the following Powder Colours in Bottles : Lemon Yellow, Fine 
 Crimson Lake, Orient Carmine, Rose Madder and Fine French 
 Ultramarine. 
 
 STUDIO BOX, No. 4. (Illustrated at page 16.) 
 
 Price £26 5s. — fitted complete. (Empty Box, with Smudge Pan, 
 six Japanned Oil Bottles, Brush Washer and two Rimmed 
 Dippers, £8 10s.) 
 
 Studio Box, No. 4 : Size 20 inches by 14, 8^ inches deep : contain- 
 ing eighty -four Colours, luith a complete assortment of Materials ; 
 comprising Flat, Round, Rigger, Bright's, and Fan Sable Brushes ; 
 Flat and Round Hog-hair Brushes, Flat and Round Extra Fine 
 ditto, Landseer's, Bright's, and Fan ditto, Flat Varnish Brush, 
 Badger Softeners, Chalk, Charcoal, Portcrayons, Steel and 
 Ivory Palette Knives, Scraper, Artist's Pocket Knife, Brush 
 Washer, Smudge Pan, Capped and Rimmed Dippers, Ground 
 Glass Slab and Mullers, China Slabs for submerging Colours, 
 large and small Artist's Gallipots, f -pint each Mastic and Picture 
 Copal Varnishes, Turp^tine, Pale Drying, Linseed, and Poppy 
 Oils, six Japanned Bottles for ditto with screw tops, three Prepared 
 Boards, 19 inches by 13, Mahogany Palette and Jointed Mahl 
 Stick. And the following Powder Colours in Bottles : Aureolin, 
 Lemon Yellow, Fine Crimson Lake, Orient Carmine, Madder 
 Carmine, Cobalt, Fine French Ultramarine and Genuine 
 Ultramarine. 
 
37, 38, 39 ^ 40, BATHBONE PLAGE, LONDON, W. 19 
 
 WINSOR & NEWTON'S 
 
 ARTISTS' CANVAS. 
 
 The best British -made Canvas of pure Flax, and the 
 purest materials only, are used by Winsor & Newton, 
 Limited, in the production of their Artists' Prepared 
 Canvas. 
 
 The space afforded by their new Factory, the extensive 
 plant contained therein, and their stalf of trained skilled 
 workmen, enable them to execute all orders with dispatch. 
 
 The superior method of manufacture adopted by 
 WiNSOR & Newton, Limited, materially enhances the 
 quality of their Artists' Canvas. It is dried naturally and 
 without the aid of artificial means ; and the adhesion of 
 the surface of preparation to the ground of raw Canvas 
 is so intimate and thorough, as to preclude the possibility 
 of its peeling up or becoming detached in any way. 
 
20 
 
 WINSOB Sf NEWTON, Limited, 
 
 WINSOR & NEWTON'S 
 
 ARTISTS' CANVAS. 
 
 Prepared on the Best Linen Fabric. 
 
 
 
 E,oman 
 
 
 IN ROLLS OF SIX YARDS. 
 
 
 or 
 Plain 
 
 Ticken. 
 
 
 Canvas. 
 
 
 
 
 s. 
 
 d. 
 
 s. d. 
 
 27 inches wide 
 
 . . . per yard 
 
 2 
 
 9 
 
 3 6 
 
 30 „ „ 
 
 
 3 
 
 
 
 3 9 
 
 36 „ „ 
 
 
 3 
 
 6 
 
 4 6 
 
 38 
 
 
 3 
 
 9 
 
 5 
 
 3 feet 6 inches wide 
 
 
 4 
 
 6 
 
 5 6 
 
 3 55 9 
 
 
 5 
 
 3 
 
 6 3 
 
 4 „ 6 „ „ 
 
 
 6 
 
 9 
 
 7 6 
 
 5 „ 2 „ „ 
 
 
 8 
 
 
 
 10 
 
 6 „ 2 „ „ 
 
 
 10 
 
 
 
 11 6 
 
 7 „ 2 „ „ 
 
 
 12 
 
 
 
 14 6 
 
 OIL SKETCHING PAPERS. 
 
 d. 
 
 Oil Sketching Paper, 30 inches by 22 per sheet 9 
 
 Ditto, Extra Stout, 30 „ 22 „ l () 
 
 ACADEMY BOARDS. 
 
 Academy Boards ... 24^ 
 
 inches by 18i ... 
 
 ... each 
 
 1 
 
 d. 
 
 
 Half ditto ... 18i 
 
 „ ' 12i ... 
 
 
 
 
 6 
 
 Quarto ditto ... 12^ 
 
 9i ... 
 
 
 
 
 3 
 
 Thick Academy Boards 24^ 
 
 18i ... 
 
 
 1 
 
 3 
 
 Half ditto ... 18i 
 
 12i ... 
 
 
 
 
 8 
 
 Quarto ditto ... 12^ 
 
 9i ... 
 
 
 
 
 4 
 
37, 38, 39^ 40, UATHBONE PLAGE, LONDON, W. 21 
 
 WIISrSOR & NEWTON'S 
 ROMAN OR PLAIN CANVAS ON WEDGED FRAMES, 
 
 Size 
 
 
 Each. 
 
 in Inches. 
 
 
 s. d 
 
 o by o 
 
 
 n ft 
 
 
 
 ... U a 
 
 Q >7 
 
 y 7 
 
 
 n 1 n 
 
 ... U lU 
 
 in c\ 
 
 
 10 
 
 
 
 11 
 
 in ft 
 
 
 1 
 
 11 Q 
 
 11,, a 
 
 
 1 1 
 
 19 (\ 
 
 
 11 
 
 19 ft 
 
 
 1 
 
 19 Q 
 
 l^J c/ 
 
 
 1 1 
 
 19 in 
 
 1^ lU 
 
 
 1 2 
 
 1 ^ Q 
 
 lo y 
 
 
 1 9 
 ... 1 ^ 
 
 1 ^ in 
 
 lo ,, lU 
 
 
 1 3 
 
 1 ^ 11 
 
 lO 11 
 
 
 1 3 
 
 14 7 
 
 
 1 1 
 
 14, ft 
 1^ o 
 
 
 1 9 
 
 ... 1 ^ 
 
 1 /L Q 
 
 I'* ,, y 
 
 
 1 ^ 
 
 ... 1 o 
 
 1/1 in 
 14 lU 
 
 
 1 ^ 
 ... 1 o 
 
 1 A 19 
 
 
 1 
 
 ... 1 ^ 
 
 IK 11 
 lO 11 
 
 
 ... 1 o 
 
 IK 19 
 lo li^ 
 
 
 1 
 
 ... 1 o 
 
 lo ,, O 
 
 
 1 ^ 
 
 ... 1 o 
 
 lb ,, lU 
 
 
 1 Pi 
 1 o 
 
 Id to 
 
 lb lii 
 
 
 1 R 
 1 D 
 
 lb ,, 14 
 
 
 1 Q 
 
 1 y 
 
 1 '7 1 ^ 
 
 1/ ,, lo 
 
 
 1 9 
 
 17 „ 14 . 
 
 
 1 9 
 
 18 „ 10 . 
 
 
 ... 1 6 
 
 18 „ 12 . 
 
 
 ... 1 8 
 
 18 „ 14 . 
 
 
 ... 1 10 
 
 18 „ 16 . 
 
 
 ... 2 
 
 19 „ 13 . 
 
 
 ... 1 10 
 
 19 „ 15 . 
 
 
 ... 2 
 
 20 „ 12 . 
 
 
 ... 1 10 
 
 20 „ 14 . 
 
 
 ... 2 
 
 20 „ 15 . 
 
 
 ... 2 
 
 20 „ 16 . 
 
 
 ... 2 1 
 
 21 „ 14 . 
 
 
 ... 2 
 
 21 „ 17 . 
 
 
 ... 2 3 
 
 Size 
 
 Each. 
 
 in Inches. 
 
 
 d 
 
 22 by 14 
 
 9 
 
 Li 
 
 Q 
 O 
 
 22 , 
 
 ,16 
 
 o 
 
 q 
 o 
 
 22 , 
 
 , 18 
 
 o 
 
 Cl 
 
 b 
 
 24 , 
 
 ,12 
 
 o 
 
 £j 
 
 1 
 
 1 
 
 24 , 
 
 ,14 
 
 o 
 
 q 
 o 
 
 24 , 
 
 , lb 
 
 
 b 
 
 24 , 
 
 ,18 
 
 
 Q 
 
 y 
 
 24 , 
 
 ,20 
 
 Q 
 
 o 
 
 n 
 u 
 
 26 , 
 
 ,16 
 
 
 1 n 
 
 lU 
 
 26 , 
 
 , 18 
 
 Q 
 O 
 
 n 
 
 U 
 
 26 , 
 
 ,20 
 
 Q 
 O 
 
 q 
 o 
 
 26 , 
 
 , 22 
 
 q 
 o 
 
 O 
 
 27 , 
 
 ,20 
 
 q 
 o 
 
 q 
 o 
 
 27 , 
 
 ,22 
 
 Q 
 
 o 
 
 ^7 
 / 
 
 30 , 
 
 1 Q 
 
 , lo 
 
 3 
 
 6 
 
 30 , 
 
 ,20 
 
 Q 
 
 o 
 
 Q 
 
 o 
 
 30 , 
 
 ,22 
 
 4 
 
 
 
 30 , 
 
 ,24 ... ... 
 
 4 
 
 2 
 
 
 
 
 3 
 
 So , 
 
 ,20 
 
 
 4 
 
 ob , 
 
 OA 
 
 , Z4 
 
 5 
 
 
 
 36 
 
 ^ 28 
 
 5 
 
 
 40 
 
 ',24 
 
 6 
 
 
 
 40 , 
 
 ,28 
 
 7 
 
 
 
 40 , 
 
 ,30 
 
 8 
 
 
 
 42 , 
 
 ,24 
 
 6 
 
 6 
 
 42 , 
 
 ,28 
 
 7 
 
 6 
 
 44 , 
 
 , 34 Small Half 
 
 
 
 
 Length 
 
 9 
 
 6 
 
 50 , 
 
 , 30 Landscape ... 
 
 10 
 
 6 
 
 50 , 
 
 , 40 Half Length... 
 
 12 
 
 6 
 
 56 , 
 
 , 44 Bishop's Half 
 
 
 
 
 Length 
 
 16 
 
 6 
 
 88 , 
 
 , 52 Small Whole 
 
 
 
 
 Length 
 
 32 
 
 
 
 94 , 
 
 , 58 Whole Length 
 
 42 
 
 
 
 106 , 
 
 , 70 Bishop's Whole 
 
 
 
 
 Length 
 
 54 
 
 
 
 Stretchers covered with Ticlcen at proportionate Prices. 
 
22 
 
 WmSOB Sf NEWTON, Limited, 
 
 MILLBOARDS AND MAHOGANY PANELS. 
 
 With carefully Peepaeed Suefacbs foe Painting on. 
 
 
 
 Prepared 
 Millboards 
 
 Pre- 
 pared 
 Panels. 
 
 
 
 Prepared 
 Millboards 
 
 Pre- 
 pared 
 Panels. 
 
 
 
 Each. 
 
 Each. 
 
 
 
 Each. 
 
 Each. 
 
 Size in Inches. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 Size in Inches. 
 
 s. 
 
 d. 
 
 s. d. 
 
 6 
 
 by 5 ... 
 
 
 
 6 
 
 
 
 17 by 12 ... 
 
 2 
 
 
 
 5 3 
 
 7 
 
 „ 5 ... 
 
 
 
 7 
 
 
 
 17 , 
 
 13*... 
 
 2 
 
 3 
 
 5 6 
 
 8 
 
 „ 6 ... 
 
 
 
 8 
 
 1 
 
 3 
 
 17 , 
 
 14 ... 
 
 2 
 
 4 
 
 6 
 
 9 
 
 „ 6*... 
 
 
 
 8 
 
 1 
 
 6 
 
 18 , 
 
 12*... 
 
 2 
 
 3 
 
 5 6 
 
 9 
 
 „ 7 ... 
 
 
 
 9 
 
 1 
 
 6 
 
 18 , 
 
 13 ... 
 
 2 
 
 4 
 
 6 
 
 9 
 
 „ 8 ... 
 
 
 
 9 
 
 
 
 18 , 
 
 14 ... 
 
 ,2 
 
 6 
 
 6 6 
 
 10 
 
 7* 
 
 
 
 9 
 
 1 
 
 9 
 
 19 , 
 
 , 12 ... 
 
 2 
 
 6 
 
 
 10 
 
 ]] 8*'.'. 
 
 
 
 10 
 
 2 
 
 
 
 19 , 
 
 13*... 
 
 2 
 
 6 
 
 6 6 
 
 11 
 
 „ 8*... 
 
 
 
 10 
 
 2 
 
 3 
 
 19 , 
 
 14 ... 
 
 2 
 
 8 
 
 7 
 
 11 
 
 
 1 
 
 
 
 2 
 
 6 
 
 20 , 
 
 14*... 
 
 2 
 
 10 
 
 7 6 
 
 12 
 
 
 1 
 
 
 
 2 
 
 8 
 
 20 , 
 
 , 15 ... 
 
 
 
 8 3 
 
 12 
 
 
 1 
 
 1 
 
 3 
 
 
 
 20 , 
 
 , 16 ... 
 
 3 
 
 2 
 
 9 
 
 12 
 
 „ 10*... 
 
 1 
 
 1 
 
 3 
 
 3 
 
 21 , 
 
 , 14 ... 
 
 
 
 8 6 
 
 13 
 
 „ 8*... 
 
 1 
 
 1 
 
 3 
 
 
 
 21 , 
 
 , 15 ... 
 
 3 
 
 3 
 
 
 13 
 
 „ 9 ... 
 
 1 
 
 1 
 
 3 
 
 3 
 
 21 , 
 
 , 17 ... 
 
 3 
 
 9 
 
 10 6 
 
 13 
 
 „ 10*... 
 
 1 
 
 2 
 
 3 
 
 6 
 
 22 , 
 
 , 15 ... 
 
 3 
 
 6 
 
 
 13 
 
 „ 11 ••• 
 
 1 
 
 3 
 
 3 
 
 9 
 
 22 , 
 
 , 16 ... 
 
 3 
 
 9 
 
 10 6 
 
 14 
 
 „ 9 ... 
 
 1 
 
 3 
 
 3 
 
 6 
 
 22 , 
 
 , 18 ... 
 
 4 
 
 6 
 
 12 
 
 14 
 
 „ 10*... 
 
 1 
 
 3 
 
 3 
 
 9 
 
 23 , 
 
 , 16 ... 
 
 4 
 
 
 
 11 6 
 
 14 
 
 „ 12*... 
 
 1 
 
 6 
 
 4 
 
 6 
 
 24 , 
 
 , 18 ... 
 
 5 
 
 3 
 
 13 
 
 15 
 
 „ 11*... 
 
 1 
 
 8 
 
 4 
 
 6 
 
 24 , 
 
 , 20 ... 
 
 6 
 
 
 
 14 
 
 15 
 
 „ 12 ... 
 
 1 
 
 9 
 
 4 
 
 9 
 
 30 , 
 
 , 20 ... 
 
 
 
 21 
 
 16 
 
 „ 11 .. 
 
 1 
 
 9 
 
 4 
 
 9 
 
 30 , 
 
 , 25 ... 
 
 9 
 
 
 
 27 
 
 16 
 
 „ 12*... 
 
 1 
 
 10 
 
 5 
 
 
 
 36 , 
 
 , 28 ... 
 
 
 
 36 
 
 * CANVAS BOAEDS.— Plain Millboards covered with prepared 
 Artists' Canvas are now made in the sizes marked with a star, at the 
 prices of the prepared Millboards above. 
 
37, 88, 39 ^ 40, BATRBONE PLACE, LONDON, W. 23 
 
 SOLID BLOCKS FOR SKETCHING IN OIL. 
 
 Solid Blocks of Extra Thick Prepared Paper, containing 24 
 sheets, have been made to avoid the weight and expense of those 
 with 32. 
 
 8vo. 
 6mo. 
 4to. 
 3mo. 
 Half 
 
 
 Thick Paper, 
 C07ifaining 
 
 32 sheets. 
 
 lExtra Thick Paper , 
 containing 
 
 24 sheets. 
 
 
 
 Half Bound 
 
 
 Half Bound 
 
 
 Blocks 
 
 and with 
 
 Blocks 
 
 and with 
 
 
 only. 
 
 Protective 
 
 only. 
 
 Protective 
 
 
 
 Frames. 
 
 Frames. 
 
 Inches. 
 
 s. d. 
 
 s. d. 
 
 H. d. 
 
 s. d. 
 
 7 by 5 each 
 
 2 3 
 
 4 6 
 
 2 3 
 
 4 6 
 
 10 „ 7 „ 
 
 4 
 
 7 6 
 
 4 
 
 7 6 
 
 14 „ 61 „ 
 
 5 6 
 
 10 6 
 
 5 6 
 
 10 6 
 
 14 „ 10 „ 
 
 7 6 
 
 13 
 
 7 6 
 
 13 
 
 18 „ 10 „ 
 
 
 
 11 
 
 19 
 
 20 „ 14 „ 
 
 
 
 16 
 
 26 
 
 aHOUND GLASS SLABS & MULLERS. 
 
 Glass Slabs. 
 
 Glass Mullers. 
 
 
 Glass 
 Slabs 
 only. 
 
 Set in 
 Mahogany 
 Frames. 
 
 Inches. 
 
 s. d. 
 
 s. d. 
 
 6 X 6 each 
 
 1 
 
 3 
 
 8x8 
 
 1 6 
 
 4 
 
 10 X 10 
 
 2 6 
 
 5 
 
 12 X 12 
 
 3 6 
 
 6 
 
 1 inch diameter 
 
 u 
 
 2 
 
 2i 
 3 
 4 
 
 each 
 
 6 
 
 8 
 
 9 
 
 1 
 1 6 
 1 9 
 
24 
 
 WINS OB 8r NEWTON, Limited, 
 
 WINSOR & NEWTON'S 
 
 SABLE BRUSHES IN TIN FERRULES, 
 
 FOR OIL PAINTING. 
 
 With 12-Inch Polished Red Cedar Handles. 
 
 PLAT OE ROUND. 
 
 
 No. 7 .. 
 
 FLAT. 
 
 
 d. 
 
 
 S. 
 
 d. 
 
 
 . each 1 
 
 9 
 
 Nos. and 1 ... 
 
 . . . each 
 
 6 
 
 „ 8... 
 
 
 » 2 
 
 4 
 
 2 
 
 ... „ 
 
 7 
 
 „ 9 ... 
 
 
 „ 3 
 
 
 
 3 
 
 ... „ 
 
 9 
 
 „ 10 ... 
 
 
 3 
 
 6 
 
 ., 4 
 
 ... „ 1 
 
 
 
 
 ROUnSTD. 
 
 
 
 .. 5 
 
 ... „ 1 
 
 2 
 
 No. 7 ... 
 
 
 each 2 
 
 3 
 
 ., 6 
 
 ... „ 1 
 
 4 
 
 „ 8... 
 
 
 „ 3 
 
 
 
 
 
 
 „ 9... 
 
 
 „ 3 
 
 6 
 
37, 38, 39 ^ 40, BATHBONE PLACE, LONDON, W. 25 
 
 WINSOR & NEWTON'S 
 
 HOG HAIR BRUSHES IN TIN FERRULES, 
 
 FOR OIL PAINTING. 
 
 For prices and particulars see next page. 
 
 D 
 
26 
 
 WINS OB .y NEWTON, Limited, 
 
 WINSOR & NEWTON'S 
 EXTRA FINE 
 
 HOG-HAIE BRUSHES IN TIN FERRULES. 
 
 With 12-Inch Polished Yellow Handles. 
 
 Made of the finest and softest Lyons Hog Hair, feather-edged, 
 and graduated so as to blend and keep well together in working. 
 These Brushes range between Sable and the ordinary Hog-hair 
 Brushes, combining somewhat of the softness of the former with 
 the firmness of the latter. 
 
 FLAT OR ROUIJD. 
 
 No. 9 ... each 1 2 
 „ 10 ... „ 1 4 
 
 No. 1 to 6 each 8 
 „ 7 ... „ 9 
 „ 8 ... „ 1 
 
 For Illustrations of the above Brushes see 'preceding 'page. 
 
 No. 11 ... each 1 6 
 „ 12 ... „ 1 9 
 
 WIlSrSOR & ^^EWTON^'S 
 
 HOG HAIR BRUSHES IN TIN FERRULES, 
 
 FOR OIL PAINTING. 
 
 With 12-Inch Polished Red Cedar Handles. 
 
 FLAT OR ROUND. 
 
 
 
 d. 
 
 
 s. 
 
 d. 
 
 
 s. 
 
 d. 
 
 No. lto6 
 
 ) each 
 
 4 
 
 No. 11 . 
 
 . . each 
 
 10 
 
 No. 15 . 
 
 .. each 2 
 
 
 
 „ 7 ... 
 
 n 
 
 6 
 
 „ 12 . 
 
 . „ 1 
 
 
 
 „ 16 . 
 
 • n 2 
 
 3 
 
 „ 8 ... 
 
 „ 
 
 7 
 
 „ 13 . 
 
 . „ 1 
 
 6 
 
 „ 17 . 
 
 . „ 2 
 
 
 „ 9 ... 
 
 „ 
 
 8 
 
 „ 14 . 
 
 .. „ 1 
 
 9 
 
 „ 18 . 
 
 . „ 2 
 
 9 
 
 „ 10 ... 
 
 „ 
 
 9 
 
 
 
 
 
 
 
37, 38, 39 ^40, RATHBONE PLAGE, LONDON, W. 27 
 
 WINSOR & NEWTON'S 
 
 HOG HAIR BRUSHES IN TIN FERRULES, 
 
 Short and Thin in Hair. 
 With 12-iiicli " Uiipolishect l»iiie " Handles. 
 
 " Flat only." Nos. 1 to 6, all sizes, 2d. each. 
 
 No. 
 
 1 ^' 
 
 d. 
 
 No. 
 
 ! «• 
 
 d. 
 
 7 ... 
 
 ... each 
 
 3 
 
 10 
 
 ... each ' 
 
 6 
 
 8 ... 
 
 ... „ 
 
 4 
 
 11 
 
 ... „ 1 
 
 7 
 
 9 
 
 ■-. „ ! 
 
 5 
 
 12 
 
 ... „ ! 
 
 8 
 
 FLAT HOG HAIR VARNISHING BRUSHES IN TIN 
 FERRULES. 
 
 Special Make. — Softest Lyons Hair. 
 With Polished Cedar Handles. 
 
 1 inch wide 
 
 u „ 
 
 2 „ 
 2h „ 
 
 each ! 
 
 d. 
 3 
 
 9 
 3 
 
 3 inches wide 
 4 
 
 each 
 
 d. 
 
 3 6 
 
 4 
 4 6 
 
 I 3 
 
 "FAN" SHAPE BRUSHES IN TIN FERRULES. 
 
 Made of 
 Softest 
 Lyons 
 
 Containing little hair, and adapted for light touching, 
 fur, foliage, herbage, &c. 
 
 With 12-Inch Yellow Handles. 
 
 Nos 1, 2, and 3 
 „ 4, 5, and 6 
 
 , each 
 
 Made off 
 Sable 
 Hair. 
 
 Hair. 
 
 FINEST ROUND BADGER HAIR SOFTENERS. 
 Red Polished Handles. 
 
 POONAH BRUSHES. 
 With O-ineh Polished Red Handles. 
 
 PooNAH Brushes, Nos. 1 to 6 each 
 
 No. 
 
 
 s. 
 
 
 No. 
 
 
 
 d. 
 
 1 ... 
 
 ... each 
 
 
 
 t 
 
 
 ... each 
 
 3 
 
 6 
 
 2 ... 
 
 ... 
 
 1 
 
 
 8 ... 
 
 
 4 
 
 
 
 3 ... 
 
 
 1 
 
 6 
 
 9 ... 
 
 
 5 
 
 
 
 4 ... 
 
 J) 
 
 2 
 
 
 
 10 ... 
 
 
 6 
 
 
 
 5 ... 
 
 „ 
 
 2 
 
 6 
 
 11 ... 
 
 
 7 
 
 
 
 6 ... 
 
 
 3 
 
 
 
 12 ... 
 
 
 8 
 
 
 
28 
 
 WINSOB Sf NEWTON, Lirrtited, 
 
 WINSOR & NEWTON'S 
 
 DIPPERS 
 
 FOR OIL AND WATER COLOUR PAINTING. 
 
 8 9 10 1) 
 
 
 
 
 Plain 
 Tin. 
 
 Japanned 
 
 
 
 
 s. d. 
 
 s. d. 
 
 No. 1. 
 
 Tin Dippers ... 
 
 . each 
 
 2 
 
 4 
 
 2. 
 
 Ditto, Double 
 
 )) 
 
 4 
 
 9 
 
 „ 3. 
 
 Conical Tin Dippers 
 
 
 3 
 
 6 
 
 „ 4. 
 
 Ditto, Double 
 
 J) 
 
 6 
 
 1 
 
 „ 5. 
 
 Water Colour Dippers with necks } 
 
 
 
 6 
 
 
 for corks ... ... ... j 
 
 )) 
 
 
 „ 6. 
 
 Ditto, Double 
 
 J) 
 
 
 1 
 
 „ 7. 
 
 Capped Tin Dippers 
 
 )> 
 
 7 
 
 
 „ 8. 
 
 Ditto, Double 
 
 )f 
 
 1 2 
 
 
 „ 9. 
 
 Capped Conical Tin Dippers 
 
 3) 
 
 8 
 
 
 „ 10. 
 
 Ditto, Double 
 
 )) 
 
 1 3 
 
 
 11. 
 
 Improved Dippers with moveable rims ,, 
 
 6 
 
 9 
 
 ,, 12. 
 
 Ditto, Double 
 
 J J 
 
 1 
 
 1 6 
 
 TIN WARE SUNDRIES. 
 
 Japanned Tin flat Oil Bottles with screw tops ... each 
 
 Brush Washers, round at top, plain Tin 
 
 ,, ,, ,, ,, japanned Tin ... 
 
 Improved Square Brush Washers, plain Tin ... 
 
 ,, n n japanned Tin 
 
 Smudge Pans, 14 inches long, plain Tin 
 Improved Smudge Pans, 14 inches long, plain Tin 
 Round Japanned Cases, to contain Oil Painting ) 
 Brushes, 13 inches long by 1^ diameter ... ) 
 Ditto 14 inches long by 2 diameter... 
 
 
 d. 
 
 1 
 
 9 
 
 1 
 
 9 
 
 2 
 
 
 
 2 
 
 6 
 
 3 
 
 
 
 2 
 
 8 
 
 3 
 
 9 
 
 1 
 
 6 
 
 1 
 
 9 
 
37, 38, 39 Sf 40, BATHBONE BLAGE, LONDON, W. 29 
 
 STEEL PALETTE KNIVES. 
 
 c 
 
 J 540 
 
 542 
 
 541 
 
 548 
 
 B 554 
 
 Palette Knives of various shapes and lengths of Blade, 
 from 8(?. to 3s. each. 
 
 SCRAPERS AND ERASERS. 
 
 No. 1. No. 2. No. 3. 
 
 6d. 28. M. Is. 
 
 No. 4. 
 Is. 2d. 
 
 No. 5. 
 
 Is. (jcl. 
 
30 
 
 WINSOE Sr NEWTON, Limited, 
 
 EASELS. 
 
 WINSOR & NEWTON'S 
 
 IMPROVED STUDIO EASELS. 
 
 See Illustration on folloiving page. 
 
 WiNSOR & Newton's Improved Studio Easel will carry canvases 
 of any size to ten feet in height. The arrangement for projecting 
 a canvas in a forward position is simple and effective ; and the Easel 
 has a screw (winding-up) movement, that is managed with the 
 utmost facility, and which raises with ease, a Picture or canvas of 
 great weight. 
 
 Among the many purchasers of WiNSOR & Newton's Improved 
 Studio Easels may be mentioned the names of the following Artists 
 and Amateurs of eminence, viz. : — 
 
 Alina-Tadema,L.,Esq.,K.A. 
 Amiconi, B., the late 
 Ansdell, E., Esq., R.A. 
 Brett, J., Esq., A.R.A. 
 Buckner, B., the late 
 Calderon, P. H., Esq., R.A. 
 Chester, G., Esq. 
 Cole, Vicat, Esq., B.A. 
 Collinson, R., Esq, 
 CorboTild, E., Esq. 
 Davis, H. W. B., Esq., R.A. 
 Desanges, L. W,, Esq. 
 Bowling, R., Esq. 
 Elmore, A., R.A., the late 
 
 Faed, T., Esq., R.A. 
 Fildes, S. L., Esq., A.R.A. 
 Girardot, E. G., Esq. 
 Graves, TheHon.H., the late 
 Haden, F. Seymour, Esq. 
 Huiit,W. Holman, Esq. 
 Knight, J. P., R. A., the late 
 Leech, John, the late 
 Leighton,Sir Fredk.,P.R.A. 
 Linnell, W., Esq. 
 Naish, J. G., Esq. 
 Philip, John, R.A., the late 
 Pinwell, G.,the late 
 Poole, P. F., R.A., the late 
 
 Roberts, D., R.A., the late 
 Rossetti,D. G., the late 
 Sant, James, Esq., R.A. 
 Selous, H. C, Esq. 
 Swinton, J. R., Esq. 
 Tayler, Frederick, Esq. 
 Thomas, W. Cave, Esq. 
 Walton, Elijah, the late 
 Walton, J. W., Esq. 
 Warren, Edmund, Esq. 
 Watson, J. D., Esq. 
 Watts, G. F., Esq., R.A. 
 Whistler, J., Esq. 
 Wilson, Herbert, Esq. 
 
 Small Studio Easel in Stained Deal 5 feet high 
 Middle „ „ 6 
 
 Large „ 7 
 
 Small Studio Easel in Polished Oak 5 
 Middle „ „ 6 
 
 Large „ 7 
 
 
 d. 
 
 11 11 
 
 
 
 12 12 
 
 
 
 13 13 
 
 
 
 14 14 
 
 
 
 15 15 
 
 
 
 17 17 
 
 
 
37, 38, 39 ^ 40, BATHBONE BLAGB, LONDON, W. 31 
 
 Illustration of 
 WINSOR & NEWTON'S 
 
 IMPROVED STUDIO EASEL. 
 
37, 38,39 ^ 40,BATHBONE PLACE, LONDON, W. 33 
 
 Illustrations of 
 WINSOR & NEWTON'S 
 
 EASELS. 
 
34 
 
 WIN80E Sr NEWTON, Limited, 
 
 WINSOR & NEWTON'S 
 
 EASELS. 
 
 MAHOGANY AND DEAL. 
 
 Illustrated on Pages 32 and 33. 
 
 No. 2a. Light Folding Sketching Easel, 4 feet 2 inches 
 high 
 
 3 Improved Folding Sketching Easel, 5 feet high 
 (When folded, 2 feet 7 inches.) 
 
 5 feet 6 inches high 
 6 feet high 
 
 ,, 3a. Framed Rack Easel 
 ,, 4. Closing Easel, Deal 
 
 ,, 4a. Ditto Poplar „ 
 
 ,, 5. Ditto Mahogany ... ,, 
 
 6. Framed (or Standing) Easel, Deal ,, 
 
 7. Ditto Easel, Mahogany 
 
 „ 8. Folding Portable Easel, Deal ... ,, 
 ,, 9. Ditto Mahogany ... 
 
 ,, 10. Rack Easel, ,, with tray ,, 
 
 ,,11. Ditto Easel, with brush box ,, 
 
 ,,12. Ditto Academy Easel, ,, ... ,, 
 
 ,, 13. Ditto Corbould ,, „ ... „ 
 
 ,, 14. Ditto Ditto ,, ,, with desk ,, 
 
 „ 15. Dwarf Rack Easel, Deal ... ... 4 feet high 
 
 ,, 16. Ditto Mahogany ... ,, 
 
 TABLE EASELS. 
 
 Table Easels, 18 inches high, each 
 
 )) >) 21 )) J) J5 
 
 n »» 24 ,, ,, ,, 
 
 Deal 
 
 Mahogany 
 
 Mahogany 
 
 with pegs. 
 
 with pegs. 
 
 with rack. 
 
 s. d. 
 
 s. d. 
 
 s. d. 
 
 4 
 
 6 
 
 8 
 
 5 
 
 7 
 
 9 6 
 
 5 6 
 
 7 6 
 
 10 6 
 
ST, S8,-S9cy 40, BATHBONE FLAGE, LONDON, W. 35 
 
 PATENT HATHERLEY EASELS. 
 
 Agents: WINSOR & NEWTON, Limited. 
 
 These new Easels combine the very desirable qualities of ingenuity 
 of construction with great simplicity, unusual tirmness, portability, 
 lightness, and cheapness ; they are all square and wide at the top 
 w^hen open, and when closed they fold up as compactly as the usual 
 narrow, forked Easels. 
 
 Taqlf. or Music Easel 
 !5 INCHP'^ High 
 
 ''A." — Hatherley Table Easel, for 
 the display of small works of Art : size, when 
 open, 15 in. high by 10^ in. wide, weight, 
 6 ounces. This Easel, w^hen closed, can be 
 carried in an ordinary pocket ; for this 
 reason ifc is already much used by Pro- 
 fessionals and Amateurs as a Music Stand. 
 Price, in Teak Wood, 46". 
 
 " B." — Hatherley Sketching 
 Easel, 3 feet 9 inches high. 
 
 This Easel, like all the Hatherley 
 Easels, can be opened instantane- 
 ously by merely pulling apart the 
 front legs. It is as easily closed 
 by pressing the legs together. 
 When open it is exceedingly rigid, 
 and cannot collapse accidentally ; 
 there are no complicated actions ; 
 the angle of the easel is varied by 
 merely sliding the brace up or down 
 the groove at the end of the central 
 bar ; the ledge or tray is a fixture, 
 ivhich adjusts t^se^/ simultaneously 
 with the opening and closing of the 
 Easel. 
 
 With each Easel is sent a small 
 brass wire spring, which holds the 
 canvas or board firmly to the Easel, 
 and prevents any movement from 
 wind. Price, in Oak, 6s. 6d. 
 
36 
 
 WINSOB Sf NEWTON, Umited. 
 
 PATENT HATHERLEY EASELS. 
 
 "D." — Hatherley Studio Easel, 6 ft. high, embraces all that 
 is possible in an inexpensive Studio Easel, it is very simple in con- 
 struction, has the advantages of a framed Easel (for the support of 
 the picture) when in use, and does not occupy space when laid on 
 one side ; it cannot collapse; is firm, and can be adjusted to any 
 inclination. Price, in Oak, 8s. 6cZ. 
 
 The Illustrations show each Easel closed, and open for use. 
 
 Sheppaed & St. John, Printers, 6, St. Bride Street, London, E.G. 
 
ONE SHILLING HAND-BOOKS ON ART. 
 With Illustrations, &c. 
 
 SENT BY POST ON RECEIPT OF THIRTEEN STAMPS. 
 
 *♦* In ordering if is sufficient to mention the Number which is attached to 
 
 each Book. 
 
 No. 
 
 l.-HALF-HOUB LECTURES ON DRAW- 
 ING- AND PAINTING. 
 
 •3. -THE ART OP SKETCHING PROM 
 NATURE. 
 
 3 -THE ART OP LANDSCAPE PAINTING 
 IN WATER-COLOURS. 
 
 4.-SYSTEM OP WATER-COLOUR PAINT- 
 ING. 
 
 5.-THE ART OF MARINE PAINTING 
 IN WATER-COLOURS. 
 
 6. -HINTS FOR SKETCHING IN WATER 
 
 COLOURS PROM NATURE. 
 
 7. ~THE ART OP PORTRAIT PAINTING 
 
 IN WATER-COLOURS. 
 
 8.~THE ART OF MINIATURE PAINTING. 
 
 9.— THE ART OF FLOWER PAINTING 
 IN WATER-COLOURS. 
 
 10. -THE ART OP LANDSCAPE PAINTING 
 
 IN OIL-COLOURS. 
 
 11. -THE ART OP PORTRAIT PAINTING 
 
 IN OIL-COLOURS. 
 
 12. -THE ART OP MARINE PAINTING IN 
 OIL-COLOURS. 
 
 13.-THE ELEMENTS OP PERSPECTIVE. 
 
 14 -THE ART OP BOTANICAL DRAWING. 
 
 15.-A MANUAL OP ILLUMINATION. 
 
 16.-A COMPANION TO MANUAL OP 
 ILLUMINATION. 
 
 17. -THE ART OP FIGURE DRAWING. 
 
 18.-= AN ARTISTIC TREATISE ON THE 
 HUMAN FIGURE. 
 
 19. -ARTISTIC ANATOMY OP THE 
 
 HUMAN FIGURE. 
 
 20. -ARTISTIC ANATOMY OF THE DOG 
 
 AND DEER. 
 
 . Q 
 
 21. -THB ARTISTIC ANATOMY OF THE 
 
 HORSE. 
 
 22. -THE ARTISTIC ANATOMY OP 
 CATTLE AND SHEEP. 
 
 23.-THE ART OF PAINTING AND DRAW- 
 ING IN COLOURED CRAYONS. 
 
 No. 
 
 24. -THE ART OP MURAL DECORATION 
 
 25. — TRANSPARENCY PAINTING ON 
 
 LINEN. 
 
 26.— THE ART OF TRANSPARENT PAINT- 
 ING ON GLASS. 
 
 27.-THB PRINCIPLES OF COLOURING 
 IN PAINTING 
 
 28.— THE PRINCIPLES OF FORM IN 
 ORNAMENTAL ART. 
 
 29.— THE ART OP WOOD ENGRAVING. 
 
 30.-INSTRUCTIONS FOR CLEANING, 
 REPAIRING, LINING, AND RE- 
 STORING OIL PAINTINGS. 
 
 31.— DRAWING MODELS AND THEIR 
 USES. 
 
 32.-COMPARATIVE ANATOMY AS 
 
 APPLIED TO THE PURPOSES OP 
 ARTISTS AND AMATEUR^. 
 
 33.— THE ART OP ETCHING. 
 
 34.-THE ART OP PAINTING ON CHINA 
 WITH A CHAPTER ON TERRA 
 COTTA PAINTING IN OIL AND 
 WATER COLOURS. 
 
 35.-RULES OP PERSPECTIVE BY M. M. 
 RUNCIMAN (WITH A LETTER OP 
 APPROVAL PROM JOHN RUSKIN, 
 Esq., M.A., &c., &c.), to which is added 
 REMARKS ON LINEAR PERSPEC- 
 TIVE, adapted from the French of 
 J. T. THIBAULT 
 
 36.-DICTIONARY OP WATER COLOUR 
 TECHNIQUE. 
 
 37. - FLOWER PAINTING IN OIL- 
 COLOURS (with Coloured Illustrations). 
 
 38. ~ A SHORT STUDY IN GOTHIC 
 
 ARCHITECTURE FOR ARTISTS. 
 
 39. -PRUIT AND STILL LIFE PAINTING 
 
 IN OIL COLOURS (With Coloured 
 Illustrations.) 
 
 40. -THE ART OP PEN AND INK DRAW- 
 
 ING. 
 
 41. -TREES AND HOW TO DRAW THEM. 
 
 0— — [In the Press, 
 
 42. -RUDIMENTS OP DECORATIVE 
 
 PAINTING. 
 
 FIELD'S CHROMATOGRAPHY, '''''''''^t^l^^^^^^^ 
 
 WINSOR & NEWTON, Limited, 37 to 40, Rathbone Place, London, W, 
 
 SOLD BY ALL BOOKSKLLERS AND ARTISTS' COLOURMEN.