HETIOTYER PROCESS

ERNEST EDWARDS.

BOOST ON:
JME Sek “OSGOOD A ND COMPANY,

26
LaTE Ticknor & FIErps, AND FieLns, Oscoop. & Co,

1878.

tHE

RING See DINE AGS DiS"

WITH TWENTY-EIGHT ILLUSTRATLONS. ___

BOSTON:
JAMES R. OSGOOD AND COMPANY,

Late Ticknor & FIELps, AND FIELps, Oscoop, & Co.

1876.

> CopyricHt, 1876.
By JAMES R. OSGOOD AND COMPANY.

PORTRAIT OF BEETHOVEN. Copied from a Steel Engraving,

ST. GEORGE. Copied from a Steel Engraving by Toscnt.

DIOGENES. Copied from a Steel Engraving by Suarp.

OAK-TREE. Copied from a Steel Engraving.

SCENE FROM HENRY IV. Copied from a Mezzotint Engraving.

THE ANGEL RAPHAEL, AFTER RAPHAEL. Copied from an Engraving on Copper.
BOOK TITLE. Copied from a Woodcut.

SCENE ON THE NILE. From a Drawing on Glass by A. Horrry.

DESIGN FOR A LOCOMOTIVE. Copied from a Pen Drawing.

DEXTER BUILDING, PAWTUCKET, R. I. Copied from an India Ink Drawing.
NOTE-BOOK SKETCHES. Copied from Pencil Sketches.

JOHN QUIN CY ADAMS. Copied from a Painting by CopiEy.

PORTRAIT. From Life.

NEW PATTERNS OF BOOTS. From the Objects.

THE HOLMES HOUSE, AT CAMBRIDGE, MASS. From Nature.

SUMMER COTTAGE AT NAHANT. From Nature.

INTERIOR OF SUMMER COTTAGE AT NAHANT. From Nature.

“THE COURTIN’.” SrnHoverre sy Winstow Homer. Printed from Stone.

Printed from Stone. ”

19. DETAILS FROM FAQGADE. Printed from Stone:
20. MAP OF PITTSBURGH. Printed from Stone.

21. HOTEL BRUNSWICK.

LIST OF ILLUSTRATIONS.

MAP OF ISOGONIC LINES. Printed from an Electrotype.

PATENT OFFICE DRAWING. Printed from an Electrotype.

GROUP OF BADGERS. Printed from an Electrotype.

“PAGE OF OFFICIAL GAZETTE OF PATENT OFFICE. Printed from an Electrotype.
SAMPLES OF LACE, From the Objects.

PROPOSED UNITARIAN CHURCH. Copied from a Brush Drawing.

AUTOGRAPHIC SHEET BY DIRECT TRANSFER PROCESS. Printed from Stone.

PHOTOGRAPHY IN THE PRINTING-PRESS.

BEING A DESCRIPTION OF THE WORKING OF THE HELIOTYPE PROCESS.

I a paper recently read on Photography in the Printing-press I entered
somewhat fully into the history of photographic processes. 1 propose herein
to confine myself almost entirely to a description of the Heliotype process and
its applications. A few technical: words of introduction, however, would seem
to be necessary. Photographic processes may be divided into two classes, —
those which depend on the fact that certain salts of silver darken under the
action of light, and those which depend on the fact that under certain con-
ditions gelatine or analogous bodies are rendered insoluble under the action of
light. In the first group occurs the ordinary photograph, which, though it has
- many points in its favor, has one fatal drawback, —the want of stability | in its
results. From the oaelicet days in the history of the photographic art, an
army of experimentalists have sought to find a remedy in the substitution of
a process based on the second principle I have named, — that is, that light
under certain conditions renders gelatine insoluble, so that when a negative is
interposed between a sensitive sheet of gelatine and the light, and in this w ay
certain portions shielded from the light, “those portions may remain unaffected
and in their normal condition of solubility. Their efforts have resulted in the
establishment of a number: of, processes which may be again divided into
three classes.

Ist. Those in which each print is itself a sheet of gelatine acted on by light,
such as Carbons or Autotypes. Braun of Dornach is well known for such
productions, and in his method each picture is itself formed of a sheet of gela-
tine which has been acted on by light.

2d. Those in which one gelatine print is obtained by means of light, and is
used as a means of supplying a metal or stone printing matrix, such as Photo-
Lithography, or the Woodbury process.

3d. Those in which one gelatine print is obtained by means of light and
itself, that is, the actual sheet of gelatine itself, is used as a printing “matrix,
such as in the Heliotype process.

It is with this latter application we have now to deal.

The action of hot water on gelatine is to dissolve it; the action of cold
water is not to dissolve it, but to fill up the pores and expand it as in the case
of a sponge. But if a portion of a bichromate, say of potash or ammonia, be
added to the gelatine, and in this condition it be exposed to light, the char-

«6 THE HELIOTYPE PROCESS.

acter of the gelatine is altered, —hot water will no longer dissolve it, col
water will no longer expand it, —can no longer penetrate the pores. .

The light has, in fact, had the effect of closing the pores, and thus render-
ing the gelatine waterproof. If, then, we cover a plate with bichromated gel-
atine, and expose it to light under a negative, there will be certain parts of it
which will be completely waterproofed, having the pores completely closed by
the light; certain parts — the half-tones — which will be partly waterproofed,

‘having the pores partly closed; and certain parts where the condition of the

gelatine will be unchanged. Now, if we steep this plate in cold water, some
portions of it— those where light has not acted — will absorb water, and oth-
ers will refuse to. do so, having been waterproofed by light. If we take
grease, and rub it over the plate, the result will be that where the pores are
full of water —that is, where the light has not acted—the grease will not
touch the gelatine; but where the light has acted, the pores are closed, there
is no water, and grease attaches itself readily; where the light has partly
closed the pores, the small quantity of water absorbed does not prevent a
small quantity of grease attaching itself. Lithographic ink is simply grease
to which coloring matter has been added; and a lithographic roller charged
with such ink, and rolled over such a plate, speedily reveals the light-pro-
duced image.

We have in this manner constructed the analogue of the lithographic stone,
and not only this, but‘far more. A lithographic stone will not do. more than
discriminate between black and white, it will not recognize half-tone. In
our gelatine substitute all the half-tone of the negative is retained, and we
have made our drawing on it by the sun instead of by hand.

This method was discovered by Poitevin, and even Patented by him, as
early as 1855. But I doubt’ if he understood its true principle; for he ap-
pears to have considered that the action of light converted the gelatine into
something of a waxy or, resinous nature, which, on that account, took the
greasy ink. However this may be, no results were produced by him, and the
method in that form did not come into use. The practical difficulties met
with in attempting to work it arose first from the spongy and delicate nature
of the gelatine film in those portions where light had not acted; and, next,
from the difficulty of obtaining intensity in the inking, and,sharpness in the
image, and from other technical obstacles. Bearing in mind the character of
the image on the gelatine, it will be understood that those parts of the gela-
tine not acted on by light are in much higher relief, from the presence of
the water which- they absorb, than those parts which, having been acted on
by light, do not absorb water. But it is the depressions which take the ink,
and the walls on each side of the depressions prevent the roller from reach-
ing them; and, again, it is the depressions to which the pressure must be
applied, in order to allow the paper to pick up the ink. It was found that
when the requisite pressure was applied, the gelatine was speedily destroyed,
more especially as the description of pressure employed was that used in
lithography, where the force is a scraping one over the surface of the stone.

MM. Tessieu du Motay and Marechal were the first to make use of
Poitevin’s method in any way commercially. They attempted to provide
against the swelling of the unaltered gelatine, by using a very thin layer

PHOTOGRAPHY IN THE PRINTING-PRESS. 1*

of it, and only printing such subjects as gave but slight contrasts. The

results produced, though sadly wanting in vigor and firmness, were at the
time (1868) considered satistactory; but it was found that after a very
few impressions the gelatine was crushed, and became useless, more espe-
cially as the film, to be at all manageable in inking, had been made
very thin.

Herr Albert, of Munich, next produced some results by a similar method.
Beyond what is contained in his patent, we do not find that his plan of
working has been published; but it is” believed to be somewhat as follows:
Instead of a lithographic stone, a glass plate is employed of considerable
thickness. On this is placed a layer of gelatine and bichromate, which,
when dry, is hardened through the glass by exposure to light. On the
top of this is placed a second thin coating of gelatine and bichromate;
and this is exposed to light under a negative. -In this manner a compound
printing film is‘ obtained, having the necessary degree of thickness to stand

a certain amount of wear and tear, whilst, from its construction, the diffi-.

culty of the swelling of the gelatine is to a great extent got over; the plate
is inked and printed in the usual way. Some of the results produced by
Herr Albert are beautifully soft and delicate, but the whole are wanting in
strength and robustness, and the process seems unsuited for the production
of lines. or subjects where firmness: and strength are required. The films,
moreover, are only mechanically united, and are liable to injury in working ;
whilst the use of glass plates as supports, from their liability to fracture,
introduces an element of uncertainty into the process that is very unde-
sirable.

In the Heliotype process I have applied Poitevin’s principle in an altogether
different method, which has not one point in common with those just referred
to. There are many ways of closing up the pores, or of waterproofing gela-
tine. We have seen that the action of light in presence of a bichromate
will do so completely. Admixture with alum, more especially chrome
alum, will do so as completely without the action of light; ‘and after
such treatment the gelatine is converted into a tough, tawny, insoluble
substance, like leather or parchment, capable -of standing an apparently
unlimited amount of rough usage. In the course of my experiments I
discovered that gelatine might be converted into this substance, but that
it: still retained its property of being acted on by light in presence of a
bichromate, and of receiving and refusing greasy ink. The merest trace of
water is sufficient to secure the repulsion of grease; and in chrome alum we
have the means of closing up the pores of gelatine to any desired extent, and
our means of doing so under the most complete control. Here, then, was a
most important point gained: instead of having to deal with a soft, spongy
mass of gelatine, so swollen with water as to be useless, there was secured by
this device a tough film of sufficient thickness, which, while it would absorb
sufficient water to repel grease, was yet so little swollen as to present no
difficulty in inking or printing, —a film which was sufficiently dense to give
- perfect firmness of line with entire freedom from the grain which is sometimes
seen, and which was so tough that 1,000 or 1,500 impressions might be
pulled from it without the least loss of quality.

8 THE HELIOTYPE PROCESS.

But I found in practice, that, when these films were used on glass
supports, there was great difficulty in getting contact between the gela-
tine-coated glass-plate and the negative, during exposure to light. The
slightest inequality in the surface of either negative or gelatined glass,
the slightest speck even, prevents contact; so that line ‘subjects were prac-
tically unobtainable, and many plates were failures on this account. More-
over, but a comparatively small amount of pressure could with safety be
applied to a glass plate in the press, —not nearly so much, indeed, as
was desirable; ‘and, even with the “greatest pains, fractures were of fre-
quent occurrence. To obviate these difficulties, I devised the following
method: The solution of gelatine and bichromate, to which has been added
the requisite amount of alum, is poured on the surface of a carefully levelled
plate of any suitable substance, such as slate, and dried. But the surface of
the plate has been first rubbed. over with a little wax, so that when the film
is dry it is readily detached. Instead of a thick glass plate, we then have a
film only to deal with, of the thickness of stout paper, and just as manageable.
With this film there is no difficulty in getting contact with the negative, and
we are able to obtain the most intense sharpness. There is no risk of break-
ing the negative, and the management of the film is as easy as that of the
paper on which photographs are ordinarily printed. A piece of such a film is
placed in contact with a negative, and exposed to light, the sufficiency of. the
exposure being indicated when the whole details of the picture are apparent
by such an examination as is made in the case of silver prints. The next step
is to attach it to the support on which it is to remain during printing in the
press. For this purpose a plate of metal is taken, such as zine or pewter, ‘and
the exposed gelatine film is placed in contact with it under water. We have
now to get rid of the water which is between the film and the plate. This is
done by means of a tongue of india-rubber let into a strip of wood, —just such
an instrument, in fact, as is used in cleaning pavements in dirty weather, and
which is known by tlie name of the “squeegee.” ‘This instrument is passed
sharply over the surface of the film, and squeezes out the water between it and
the metal. “Then the absorbing property of the gelatine is brought into play,
and the film is attached to the plate by exactly the same force that a boy with
a leather sucker is able to lift a stone of considerable weight, that is to say,
by virtue of atmospheric pressure. The plate, with its printing film attached,
is steeped in water for a sufficient time to soak out the superfluous bichromate,
so as to prevent the further action of light, and is then ready for printing at
the press. Instead of a glass plate, of necessity fragile, we have now a print-
ing film to which we may apply, without risk, any pressure we please, and
which, when the requisite number of impressions have been taken from it,
may be removed from its metal support, and stowed away for future use.
Having obtained our gelatine matrix on its metal support, we now come to
the inking and printing. In previous processes of this kind, either a_litho-
graphic scraping pressure or a copper-plate rolling pressure has been employed.
I have discarded both, and use in preference a simple vertical pressure, such
as is obtained in an ordinary Washington printing-press.

Bearing in mind that the action of the process depends on the mutual
repulsion of grease and water, it will be understood that the plate, like a

PHOTOGRAPHY IN THE PRINTING-PRESS. 9

lithographic stone, must be dampened: after each impression. This is done
by means of a sponge and water, and the superfluous water is got rid of by
the useful “squeegee.” The plate has now to be inked; and in this. opera-
tion I have been fortunate enough to introduce an improvement which gives a
value to the heliotype process, possessed, I believe, by no other printing method
in existence. If, in inking one of these plates, we use what is called a very
stiff ink, we shall find that it will only adhere to the deepest shadows; if
we thin down the ink we shall succeed in printing the delicate half-tones,
but we shall no longer get depth in the shadows. This has been the nota-
ble fault with the productions of analogous processes; either shadows of
intensity were produced with no half-tones, or half-tones without intensity.
My method is to use two or more inks in succession, of different intensities,
one after the other, —to begin the picture with a stiff ink and to continue
it with a thinner. To produce different effects, the color of these may be
varied. For instance, a stiff black may be used, which will give us the
deeper shadows, and on the top of this may be rolled a thinner purple or
brown, which will give us the half-tones. This ability to produce a
bichromatic effect in a single printing places a great power in the hands
of the heliotype printer. In order to produce prints with a margin, so as
not to require subsequent mounting, a mask of ‘thin paper is made, having
an opening in it exactly the size and shape of the finished picture. The
plate having been duly inked, this mask is placed on it, and over the mask
the paper on which the print is to be produced. The press having been
pulled, the picture is peeled away from the plate with a perfectly clean
margin, being, in fact, mounted. The dispensing with the cost and necessity
for mounting gives this method of printing a great advantage, especially
in the case of book illustrations; indeed, I may say in almost all cases.
With the mounted print, as it comes from the press, comes also the end of
the process. The prints have only to be looked over, and any slight cas-
ual defects remedied, when they are ready for issue.

In some of the impressions may be noticed the effect of a tint apart from
the color of the ink. This is obtained by a very simple device. We do
not use our paper damp, but in the process of printing, it absorbs a certain
amount of the water from the damp gelatine plate. If in place of
plain water we use colored water, our paper also will absorb a portion of
the colored in place of the plain water,—by this means and by the use
of suitably colored water we obtain the effect of an India tint. Our inking
rollers are also a peculiarity of the process, and have had to be contrived
for this special use. They are composed of gelatine, glycerine, and a large
proportion of castor oil, and give a surface best adapted to the method of
printing. ,

There are two questions regarding the process that I am continually
asked, — How many impressions can be produced from one plate, and how
many impressions can be.printed in a day? In reply to the first, we
have printed as many as 1,500 to 2,000 impressions from one plate without
any loss of quality, and the plate was only then stopped because no more

‘were required. From accidents to the films, however, we are by no means

free. We have to bear in mind that though our films will stand any usage

10 THE HELIOTYPE PROCESS.

of the right kind, they will not bear the kind of usage that lithographic
stones or copperplates are accustomed to receive ; and we have, moreover,
to bear in mind that in a new process everything, from first to last, has to
be provided for in a new way, —new materials, new hands, new appliances.
At present, therefore, we cannot look for freedom from such accidents as
novelty necessitates; but when I mention that a fresh plate may be pre-
pared in an hour, at a trifling cost, you will see that these are of compara-
tively small moment. In numbers, one man will print from one to five
hundred impressions in a day. Compared with lithography, it will probably
not be so cheap for large numbers; but for small numbers it will be cheaper,
as the cost of drawing will be saved, and in either case the result will be
more accurate. It is, of course, infinitely cheaper than any photographic
or carbon process, or any other photo-mechanical process. ‘Touching its
applications, I need only point to the results which we have already ob-
tained, to indicate many of them. But there are others equally valuable
which we have not yet had opportunity of working. Amongst these latter,
I may point to the use of heliotypes for pottery and enamelling purposes.
It is only necessary to use an ink mixed with suitable oxides, and print
on a suitable paper, to have on all descriptions of pottery, and at a lower
price, pictures of art valué in place of the anything but art pictures we
are accustomed to accept. Again, this process provides a ready means of
making prints in suitable ink for transfer to stone or zinc, or to wood for
the purposes of the wood-engraver, and by simple modifications relief plates
of suitable subjects may be made for printing with type. In this way the
official gazette of the Patent Office is weekly produced in this city.

I have explained that there are many ways of waterproofing gelatine be-
sides the action of light in presence of a bichromate.. As I have shown, treat-
ment with alum produces this effect. Other substances, such as tannin
and some salts of iron, similarly render it insoluble and non-absorbent of

_water. Gallate of iron will especially render gelatine insoluble, and is the -

base of most writing-inks. If then we take a letter, or sketch, or circular,
written with such an ink and apply it to a sheet of dampened gelatine, we are
able to produce on the gelatine without the action of light, an image non-
absorbent of water and, therefore, capable of being inked up. By this device
we are able to obtain such results as are to be seen in the specimen page
marked Direct Transfer. It will be understood that, having once obtained
the gelatine matrix, transfers to stone or electrotype blocks are readily ob-
tained. By this method we are daily producing considerable numbers of
facsimile circulars, the card catalogue of the Public Library, blocks for
book illustrations, maps, sketches, such as were contained in the Artists’
Centennial Catalogue, and cuts such as appear from week to week in the
“Courier” and ‘“ Times.”

Having for its base a colored, or partly colored, design, a new kind of
photo-chromo-lithography is within reach. Again by the use of different
gelatine plates.for different colors a chromo-heliotype may be produced. | But
the direction in which I conceive the process has the greatest value is in
artistic and scientific education, where it affords a means of bringing within
the reach of all reproductions of works of art and records of science which
would be otherwise unattainable.

PHOTOGRAPHY IN THE PRINTING—PRESS. 11

The publication of the Gray Collection of Engravings is an instance of the
value of the process in this respect. I do not propose to assert that the Helio-
types of this collection equal the originals; nevertheless they possess some of
their merits, and at least serve as admirable educational studies.

It is-true that the reproductions of drawings by such men as Raffaelle and
Michael Angelo contain the inevitable faults of the photograph produced by
their discoloration from age: nevertheless, it is impossible to look at some
of these without feeling that you have there the veritable work of the master ;
that his hand alone has produced the copy as well as the original. In point
of price, there is no reason why pictures such as these should not take the
place of those which at present are used to decorate even the walls of
cottages.

It is true, as in all processes depending on a photographic negative
for their base, that color is unfaithfully reproduced. Hence, oil-paintings
depending on color for their effect require an intermediate translation. A
copy must first be produced wherein the defects so arising must be corrected ;
and. this copy must then be again reproduced for issue. It seems to me
probable, that as progress is made there will be a distinct class of artists, who
will be “translators of color into light and shade,” for use in this and anala-
gous processes. Where paintings depend for their effect on light and shade,
or form, and not on color, this intermediate translation is not necessary.

It is to be remembered that the Heliotype is not an originating process.
There must be in the first place an original, suitable for reproducing. Unlike
painting or sculpture, it cannot originate, it cannot idealise, —it can only
realise. There must be originals, and they must be suitable. Defects in-the
originals cause defects in the reproductions.

It may not be amiss to indicate the kind of drawings or originals that are
best suited for reproducing. They should be considerably larger than the
reproduction to be obtained, say twice the length and twice the breadth, and
they should be made on fairly smooth drawing-paper. They may be in wash
or line, either or both. But the most desirable point is that they should be in
monochrome. I myself think that nothing equals india-ink for the purpose.
Monochrome is to be understood literally. We frequently have drawings
brought to us in so-called monochrome, where blues and yellows have been
freely used-to heighten the effect, — an error which is fatal as regards results.
Occasionally’a tinted ground may be used, and the lights added with Chinese
white.

I do not mean to say that no satisfactory results can be obtained from
other drawings and paintings in colors, but the best results are obtained from
the originals made as I have indicated, the worst from those so-called mono-
chromes in which blues and yellows, however slight, have been used for effect.

It may be interesting to note the rapid “development of the process in this
city where it has found its home. Established in one room in Tremont Street
towards the end of 1872,—notwithstanding the interruptions to business
caused by the great fire and subsequently by the panic, —it already occu-
pies premises covering over twenty thousand square feet of floor. In place
of the one press with which operations were commenced, nearly fifty are
now at work, and a steam-press is in course of construction, —a growth

12 : THE HELIOTYPE PROCESS.

which has been, indeed, in some respects too rapid, for so much work in-
volves of necessity the instruction of a large number of men in an entirely
new trade, and the organization of machinery to meet the requirements of
an entirely new business. By slow degrees the number of employés has
reached above a hundred, and every week adds to the number. By slow
degrees, also, but still steadily, the procss of improvement is going on, —
the improvements that only can come of time and the experience gained by
those employed in printing.

For the reproduction of old or rare prints or engravings this process is
especially valuable, or for the reduction and enlargement of existing ones.
Where there is a steel or copperplate in good preservation, there is obviously
no point in the use of any repeating process; for there is the certainty that
there can be no gain of work by the operation of photography. But where a
reduction is desired, or the plate is destroyed, such a repeating process as this
comes in with overwhelming force. I would deprecate the idea that this or
any similar new process is to supplant existing ones; it is to supplement them
and to cover a field where existing methods cannot, on account of time, or
expense, or accuracy, be made available.

For book illustration the heliotype process is especially valuable. The
rate of production is rapid and certain, the cost is moderate, and the necessity
for mounting is done away with.

For scientific record it is equally valuable. It retains the literal faithfulness
of the photograph, and is, moreover, permanent, and far cheaper.

The range of subjects covered by the process is only limited by the limit
of what can be secured in the photographic negative; whatever can be ob-
tained in the negative can be printed at the printing-press, whether it be a
portrait from life, a view from nature, an artist’s or architect’s drawing, a
statue, a coin, a botanical specimen, a surgical case,—any subject that can
possibly be photographed comes within its reach. The short description that
I have often used as my text perhaps describes what I would say in the few-
est words: “The pictures produced by the Heliotype process are, in effect,
photographs printed in printer’s ink at an ordinary printing-press. They are
produced with great rapidity, and independently of light; they are as perma-
nent as engravings; they require no mounting, but come from the press with
clean margins, finished, and ready for binding or framing.”

A NEW DEPARTURE IN ART.

ESSRS. JAMES R. OSGOOD & CO. respectfully invite the attention of art-lovers

to their large and varied collection of Heliotype Prints. The Heliotype process has
initiated a new departure in Art. It reproduces Engravings with faultless accuracy, and with
a delicacy which frequently secures a more pleasing effect than the original engraving itself.
These Heliotypes are not cheap or imperfect imitations, but absolutely exact copies; and
being printed in ink, they are permanent.

The Heliotype multiplies, for the culture and gratification of all who can fitly appreciate
them, the rare works of the old masters; and gives to Rembrandt, Diirer, Correggio, Marc-
Antonio, and other renowned artists of past centuries, a contemporary fame and@ interest, by
reviving for this generation the masterpieces which won for them the admiration of former
ages, and a name for all time. *

The Heliotypes now offered to the Public include not only the best works of the old
masters, from the celebrated “Gray Collection” at Harvard University, but a large number
of the finest and most artistic of the works of modern artists. Both lists are given here-
with, and the titles alone indicate well the variety and comprehensive scope of the Process.

These Heliotypes vary in price from Fifty Cents to One Dollar and Fifty Cents, which
is but a fraction of the cost of the Engravings. They can be seen at the store of James
R. Osgood & Co., in a large variety of handsome frames. They are sold at the bookstores
generally, and are offered at retail by the Publishers,

JAMES R. OSGOOD & CO., Boston.

HELIOTYPE PUBLICATION OF THE GRAY COLLECTION OF ENGRAVINGS,

HARVARD COLLEGE.

By JAMES R. OSGOOD & CO., Publishers, Boston.

ESSRS. JAMES R. OSGOOD & CO, have the pleasure of announcing that by the
desire of the President and Fellows of Harvard College they have published
Heliotype reproductions of the principal art treasures of the “ Gray Collection of Engray-
ings,” owned by Harvard College. This Collection is one of the most complete and perfect
in the country. It contains the choicest and most costly proofs of many of the best en-
gravers of the world, and is especially rich in the original works of ALBERT Durer, Rem-
BRANDT, Marc-AnTonio, Lukas Van Leypen, Caracci, and others. It comprises the best
engravings of RAPHAEL MorGHEN, Loncut, Toscut, ANDERLONI, MULLER, WILLE, Desnoy-
ERS, MANDEL, STRANGE, SHARPE, WOOLLETT, and other leading engravers, from the pictures
of RapHarL, Titian, Correccio, Guipo, Lronarpo pa VINcI, MuriL1o, and other cele-
brated artists. The portraits by VeLasquez, Van Dyck, and others, and the engraved
heads of distinguished persons by Nanrevit, EDELINCK, Masson, and HoupRakEN, are a
most important feature of the Collection:

The publishers are enabled, by means of the rapidity, faithfulness, and artistic quality
of the Heliotype Process, to offer to the public’ beautiful reproductions from the choicest
and most costly works of art at the lowest possible prices. Rare etchings or artist-proof
engravings, worth hundreds of dollars each, may be reproduced and sold at prices varying
from fifty cents to two or three dollars; thus bringing the treasures of art-galleries within
the reach of all, and affording a means of art-education hitherto unattainable.

14 fTeliotype Publication of the Gray Collection of Engravings.

SPECIAL PORTFOLIOS.

The Frescos of Correggio and Parmegiano, engraved by PaoLo Toscu!I. From the Gray Collection of En-

gravings, 24 plates in Portfolio. Price, $25.00.

Parmegiano.
I. St. Agatha. Ill.
II. St. Lucia and St. Apollonio. IV.
Correggioe
V. Madonna della Scala, — Virgin and Child. XII.
VI. Diana in a Chariot, returning from the Chase.
VII. Children. Below, Fortuna, with cornucopia, rudder, and | XIII.
globe.
VIII. Children, one with stone on head. Below, youth with XIV.
cornucopia, bringing a libation to the altar. XV.
IX. Children, one with mask. Below, Nature (or Summer), XVI.
reclining, holds in one hand a cornucopia, in the other XVII.
a scorpion; on her head a rampant snake, and before | XVIII.
her a basket with herbs and flowers. XIX.
X. Children, one embracing a dog. Below, Juno suspended XX.
from heaven, with an anvil under her feet. XXI.
XI. Children, one holding a spear. Below, a bearded old XXII.
man, sitting in a chair like Jove, with a sceptre in his | XXIII.
hand. XXIV.

A Series of Studies after Five Paintings by RAPHAEL in the
Engravings in the Boston Public Library. 24 plates in Portfolio, Price, $25.00. Single plates, $1.50 each.

I. Tue Vistration.
2. Saint Elizabeth.
3. The Virgin Mary.
IV. Tue Hoty Famiry, finished by Giulio Romano.
5. Saint Joseph.
6. The Infant Jesus.
VII. Tue Hoty FAmity, called ‘‘ The Pearl.”
8. The Virgin Mary, called ‘‘ The Pearl.”
g- Saint Anne.
xo. The Infant Jesus.
XI. Tue Maponna oF THE Fisu; or, The Virgin and Tobias.

x2. The Angel Raphael.

XVII.

Single plates, $1.50 each.

Two Deacons: San Lorenzo and San Vincenzo.
St. George.

Children, one harnessing a dog. Heads of two children
behind. Below, the Fates.

Children, one blowing a horn. Below, Pan blowing on a
conch-shell.

The Coronation of the Virgin. Nos. XIV., XV., and

Group of Cherubs and Angels. + XVI, form but one com-

Group of Cherubs and Angels. J position.

St. John the Evangelist.

St. John and St. Augustine.

St. Matthew and St. Jerome.

St. Mark and St. Gregory.

St. Luke and St. Ambrose.

Two Apostles, — St. Peter holding the keys.

Two Apostles.

St. Thomas.

Madrid Gallery. From the Zosti Collection of

13. The Young Tobias.
14. The Virgin Mary and the Infant Jesus.
15. Saint Jerome.
16. Study of Hands and Feet.
Tue BEARING OF THE Cross; or, “Lo Spasimo.”
18. Head of Christ.
19. The Virgin Mary.
20. Mary Magdalene.
21. Holy Woman,
22. Saint John.
23. Holy Woman, painted after “‘ La Fornarina.”

24. Simon the Cyrenian.

The Life of the Virgin, from the designs drawn and engraved by ALBERT DURER. From the Collection of
RussELL Sturcis, Esq. 20 Plates in Portfolio. Two sizes. Large size, price, $12.00; small size, price,

$6.00.

The Book of Job, from the designs drawn and engraved by WiLLtAM BLAKE. From the Gray Collection of

Engravings, 22 Plates in Portfolio. Price, $ 8.00.

Portraits by eminent French Engravers, including NANTEUIL, Masson, etc. From the Gray Collection of

Engravings. Yo Plates in Portfolio. Price, $ 12.00.

Selections from the Etchings of Rembrandt. From the Gray Collection of Engravings. 13 Plates in Port-

folio. Price, $ 10.00.

Selections from the designs of Albert Diirer. From the Gray Collection of Engravings. 13 Plates in Port-
folio. Price, $10.00.

FTeliotype Publication of the Gray Collection of Engravings. 15

SINGLE AND MISCELLANEOUS SUBJECTS.

Albano. . Albert Diirer. William Hogarth.
Dancing Amoretti. ++$1.00] Albert Diirer. BGit100} | melLorastinsertteseteleleiaiteletsietmraietelatetele ces $0.75
5 » ~
BP. Acdouts: Archbishop Albert of Mayence =~ .50l trang Holhein:
“Tl n’est plus temps,”’ after Bouillon. 1.00 Bal ae Pirkheimer. efollimebians ¥1olbeinvarasdee se ateen seiiaee +75
Bartolozzi. Res Ele * é if Pl W. Hollar.
Satyr, Children, and Goat.....++.e0e+ 1.00 aes 3 i 7 e i en “5°! A Head of a Cat ... 150 A
Sleeping Child, after Elizabeth Sirani 1.00 SON Say ana! cathe 73) Three Female Heads. “50
Melancholy. 1.00
J. F. Bause. Melanchthon. .75| 3+ Jordaens.
Frederic II. of Prussia .. Shield and Death’s Head 1.00| A Fool with a Cat-........-.0... 2005 1.00
{wanes et 700) St. Anthony reading. -50| Sir Edwin Landseer.
Hans Sebald Beham. St. +50} The Shepherd’s Grave.............-. 1.00
Young Woman accompanied by Death .50] St, 1.25] sir Peter Lely
pen nee Pee ee 00] _ NellGuynnessesseeeersseccesesseee 1.00
hepherd with his OCK weeev eens noe 1,00 DUA pee Naha ke - =
. The Great Cannon .. 1.25 | Pukas Van Leyden.
Charles Clement Bervic. hie David Playing before Saul 1.00
Ghali eee The “Great”? Fortune. 1.25 2 ying ee ‘
harles Gravier...e.s++sesseerservens 1.00} FAG 2 Lukas Van Leyden thes
Giulio Bonasone. ; The Knight of Death.. 1.00] Monk Sergius killed by Mohammed.. 1.00
Michel-Angelo Buonarotti......++ +++ 1.00] ‘The Nativity ..... 75| St Matthew... +50
Jan Both. Virgin crowned by Two Angels 50) epee Malema: 75
‘The Muleteer -hawsassesscuatess os 1.00| Virgin embracing Child .go| The Virgin in a Glory, +50
Louis de Boullengne. Virgin with a Monkey...............5 +50 Jan Lievens. ‘ 3
The Presentation in the Temple ..... 1,00 | Van Dyck. Ephraim Bonus, a Jewish Physician.. 1.35
Giulio Campagnola. Child playing with Love... 1.00/@+ Longhi.
The Old Shepherd ....-.------.+++++ -50| Christ crowned with Thorns « .7g| Amerigo Vespucci........... Beemer +50
Agostino Caracci. Don Carlo Colonna .75| Ge Luderitz.
The small St. Jerome «.........00e00+ .75| Earl Pembroke... 75| Thorwaldsen....cerccs..sessseseeere 1.00
Annibale Caracci. Gustavus Adolphus 75 |B. Mandel.
Christ of Caprarola 173 | H. Steenwyck. -75| Italian Shepherd Boy. 1.00
Head of Christ... . .75| J: Jordaens... 75) Andrea Mantegna,
Holy Family with St. Clara.......... 75 q Sa ‘75| The Triumph of Czsar,
ier OEE LEH +75 Elephants and Torches ............ 12.
8. Carmona, Pieter Breughel -75 | te z i E23
The Triumph of Czsar,
HranGois)/ BouCHer ss este aeteteteleteleleet-tea 1.00] The Child AG Harlech is >
LL ep peace es Soldiers and Trophies.............. 1.25
Philippe de Champagne. The Infant Christ sleepin; 1.00
MOSES. -cins)+. is oe snisisle sielaivielpieiseisiviee 1.00 Carlo Maratti.
Daniel Chodowiecki Gerard Edelinck. Danaé.. 1.00
ie. Wwieckie
ae aa sipiibaste en Charles le Brun, 1.00] Antoine Masson.
mR CES RO aE 3 Philippe de Champagne 1.25] Pierre Dupuis... 1.25
‘Claude Lorraine. Rene Descartes. 1.00] Gaspard Charrier 1.25
Seaport, with a large Tower.......... 275 oh: ays
Thtecntienies Wevack oC ee ‘7; | William Faithorne. Gales ie atc 1.25
z William Sanderson......-..:....0.05 “75 Palate Oe “75
C.N. Cochin. 9 « Master of 1446 [E. §.].
Benjamin Franklin .......--...-..--+ -75|Maso Finiguerra. 5
: 5 Solomon adoring the Idols............ 75
Correggio. Specimen of Niello Work.. 75
é de Mellan.
djupitemand Lor saeseet se aisseieceltc -75 | Francois Forster. Cede ites
Leda’s Bath + 1.00] Henri IV., after Porbus ............. |g Z Fase thisd wen Pee SS a “75
Magdalen Reading £75) a eae t. Ignatius in Ecstasy ...... .....05 1.00
c ‘ 2 . ger.
Marriage of St. Catherine.. +50 Gn AEs Rion noadeeedenoneoneee “75 Raphael Mengs.
Cornelis Cort. Gerard Cupid .. +50
St. Jerome in the Desert (after Titian) .75 Hie ry eee | Michell Anselos
Lukas Seen Napoleon II BS aiey) We kiocoeenenadcensecucccaseece oad 1.00
DMfartity Suter iw cteteteiei= leit mnie ainince +50 ’ 2
a at 5 | Giorgione. a oe tees 75
a pa a3 MheaConcerfresec nat sets seen 1.00 He LING UNHES, 225
ASE OU ee Raphael Morghen.
Offres Reciproques . 1.00 | HW. Goltzius. DRS, 75
Hendrik Goltzius... TiOO}|t | 2 ie “75
Carlo Dolci. Hercules She Noli me tangere,” after Barocci 1.00
Mater Dolorosa...+ses-seeeeeeee eens EH ees oe (de G. Miller.
Domenichins. “The Dog of Goltzius ” . ... 1,00] La Mere Brigade, after P. A. Wille... .75
The Communion of St. Jerome...... 2:00) |e rnfel Hrnesertlercalest . 1.00] The Nymph Erigone, after Jollain ... .75
Gerard Dow. Greuze. Murillo.
The Quack Doctor .....+-++++se+se0e 1,00 Tnnocence Infant Christ twisting a Crown........ 1.00
* Dréuais. J. G. Wille . Moses striking the Rock. +50
The Children of Prince Turenne...... 1.00] Sir Robert Strange. .50| St. John the Baptist as a Child. +50
Karel Dujardin. Guercino. Robert Nanteuil.
Savoyard Boy...+.ssssseccccevserece -50| Aurora followed by Tithonus.... .-.- -75| Christina of Sweden,, Msivia\siols visleisie}eieicieia 1.00

:
|
||
i

16 - Heliotype Publication of the Gray Collection of Engravings.

Robert Nanteuil (continued).

Clermont de Tonnerre. ..+eee+eeee e+ $r.25

Jean Loret
Michel Le Tellier
Nicolas Potier de Novion..
Pierre Poncet .
Pierre Seguier de Saint-Brisson .
Pomponne de Belliévre

Prince Charles of Lorraine. .....+++++

Adrian Van Ostade.
A Man with Jug and Pipe.
The Big Broom
The Strolling Musicians......--...+++

Palmavecchio.
Madonna and Child, and Saints..... .
Parmegiano.
St. Rosalia.
The Entombment
The Resurrection.

Antoine Pesne.
The Pigeon-Girl.......--..--seeceees

Paul Potter.
The Cowherd.......+sseeeee eweweees

Nicholas Poussin. +

Dance of Seasons to the Tune of Time

Marc-Antonio Raimondi.
Adam and Eve (after Raphael).
Cleopatra (after Raphael) ..
La Vierge assise sur les nues.
Lucretia (after Raphael) ...
The Dead Christ at the Feet of Mary.
The Vintage (after Raphael)..

Raphael.
La Belle Jardiniére.
La Fornarina
Madonna del Granduca
Madonna della Sedia...
Madonna di Foligno...
Madonna di San Sisto -
Navigation (a caryatid) .
Raphael
Religion (a caryatid) .
The Three Graces... wee
The Vision of Ezekiel.,............++

Marco da Ravenna.
Venus, Juno, and Ceres.............+

Rembrandt.
Abraham caressing Isaac.
Abraham sending away Hagar..
Abraham’s Sacrifice of Isaac.
Christ and the Samaritan Woman.
Christ Preaching

75
1.25
1.25

5 ee
+ 1,00

L25
1.25

75
1.00
1,00

1,00

«75

Duke Adolphus threatening his Father 1.00

Jew with a High Cap
Landscape with a Sportsman.

Puck...

| Robetta.

Belisarius

Rubens.

Ruysdael.

St. Cecilia

|Georg Friedrich Schmidt.
Quentin de la Tour.

Rembrandt (continued ).
N. Tulp lecturing on Anatomy
Old Woman with Hands crossed..
Portrait of ‘‘ Cats ”
Rembrandt and his Wife.
Rembrandt at Sixty ...
Rembrandt in an Oval.
Rembrandt when a Youth
St. Jerome in his Chamber.
The Beggar Family.
ThéMill...
The Old Man with a Split Cap
The Return of the Prodigal Son.
The Three Trees
The Triumph of Mordecai .

Guido Reni.

Cupid on the Seashore.
Guido Reni
Holy Family...
St. Sebastian...
The Archangel St. Michael

Sir Joshua Reynolds.
Lord Burghersh..
Philip Yorke, a Child

Richard Brinsley Sheridan.

Hyacinthe Rigaud.
Bossuet ..--++-++--++--+

Leopold Robert.
The Fishers of the Adriatic

The Adoration of the Magi ..

Salvator Rosa.

Diogenes in Search of an Honest Man
Laomedon refusing Tribute
Salvator Rosa...

A Laughing Negro.
A Lion Hunt...
Peter Paul Rubens. .
St. Ambrose forbidding Theodosius...

The Raising of the Brazen Serpent...

Rubens and Snyders.
Rubens and his Wife

The Little Bridge

Andrea del Sarto.
Andrea del Sarto
Study of a Child’s Head

Ary Scheffer.

1.00
1.00

1.00

Martin Schongauer.

cAPHoolishaVvirginerr sce scesecers os $o.50

The Flight into Egypt... 100

Virgin and Child, standing. +50
J. K. Sherwin.

Wilham: Woolletti-< «<< .1-<s.\es 00. 1.00
EF. Snyders.

ihemiterb-Marketeseaecteenere cies s ses 1,00

Sir Robert Strange.

Cupid seated, after Schidoni.......... 1.00

Two School Children, after Schidoni.. 1.00
Pieter Tanjé.

The Card-Players (after Caravaggio).. 1.25
D. Teniers.

Brabant Amusements. 75

Two Monkeys Smoking.. «50
| Titian.

Danaé: +50.

Flora di Tiziano 1.00

La Bella di Tiziano. “75

La Maitresse du Titien. 1.50

Martyrdom of St. Peter. +50

Sleeping Venus..... 1.00

The Tribute Money. 75

‘The Virgin and Child. 50

Titian 1.00

Titian’s Daughter .. 100

1.00

Woman taken in Adultery............ 50
Vasari.

Benvenuto Cellini.......-.-..0+..s00 “75
Velasquez.

Philip IV. of Spain... +30

Portrait of Cervantes . +75,

Water-Carrier of Seville. 1.00
Paolo Veronese.

Feast at the House of Simon ... “75
Cornelis Visscher.

The Rat-Catchers:- 35-2. - 22.0. eees 1.00
Antoni Waterloo.

The Great Mill 1.00
Watteau.

Hetes Venitiennes)..).--..--cscsssecee 1.00
Johann Georg Wille.

Charles Etienne Briseux 1.00

Joseph Parrocel + 4-25

La Petite Ecoliere (after Schenau).... .75

Le Petit Physicien (after Netscher)... .75

L’Observateur Distrait (after Mieris).. .75

Maurice de Saxe... ....1-ssners esse 1.2,

The Schoolmistress (after P. A. Wille) ..75

P. Wouvermans.

La Petite Foire aux Chevaux... 100

Price 81.50 each, except “'A Rat-Catcher with his Dogs,’ which is 82.50 per copy.

CATALOGUE

Heliotype Engravings of Modern Subjects,

PUBLISHED BY JAMES R. OSGOOD & CO.,

CATHEDRAL BUILDING, WINTHROP SQUARE, BOSTON.

Painters. Title of Subject. Engravers.
ANKER .. Little Architect...............0006 wroisisiossjaraleleiere"oieieers avers ois A. & E. Varin.

ste ae Asithlet WPUSICIaN cmon asenraaeae aaa er ei aek ee ore eeee ie :
AINTIGNAN cicieiareecicieisiesis SSRI O EDN cio Seung, «wipers nti nalareeiarin. a et edataainciatesoa sale f
BERNE-BELLECOUR .... MERC OROBE DAY ony cuss Geen anu nntaden owes iets ee ore P, GIRARDET.
BERTRAND ieee cistersiotereate ... Marguerite bs Miah cianitienemanaee ene C..A. DEBLoIs.

CONN ese Cicleroate'ste sleisteraets (0)10} «\2) bi iene nee eOaseenecence aIniaja.tng tellers siete seececne ‘
IBEVSCHICA'G jateiejs!ercrsysieieraors a ste SWioodlanGVio walt: cr cmcrscmgectimt ct ntmeanen seer H. EICHENS.
BoNHEUR, ROSA.;....6+++0+ Morning in the Highlands ........... 0s snavecerssssccee Cc. G. Lewis.
BOUGUER BAU inreisjsteisraiclalelelso/-ie Whe Guardian Angeli. oo. sca. eur cesses vcdaenoartenie BERTINOT.

Gi Little Marauders
BROCHART .... Son9 -Cupid Captive.......

Gh cde’ Sieieisicaletete sf Sweet Waters.......

i Sendiae Gneid manos The Bird-Seller.....

The Image-Seller

A Rat-Catcher with his Dogs (caken from the original drawing,
which was made by a pen held in the mouth, the Artist having lost both arms).

CARTER, JOHN

CERMAK . ee eae An Episode of the Montenegrin War................. E. GIRARDET.

(CHAPLIN Isis osicitlate ci cioleterstonsts TASOLCO!: Scio ce soa diese RBS NE ER RNS One A. Masson.
BO seh /ave(susishasercto ever rerexers The Pet Pigeon............ iG

CLAUDE, MAXIME .......... Hey ISIN se scogsenadeaces sone LEVASSEUR.
COMPTE* CATER a5. <issasierste A Lesson in Geography . Jouanrn.

“e ene ieretaaaege POOP WOVGs ficievied S56 sescs' steete P. GIRARDET.
COPS éeiwaic spaces reseasets Meditation ............ H. EIcuens.

GEMS Aoacencpoccuaccn sesso Spring iecricciucatearscere A. & E. Varin.
DELAROCHE, PAUL.......... Moses on the Nile ..... H. Dupont.
DIEFFENBACH The Betrothal ........ A. & E. Varin.
Dusurte, E... The Widow’s Mite ..... Jovanin.
DURAND Same elecisseeesioaee Granting the License ..................cceeeeeceseeeeees P. GIRARDET.

SOs ae aait ienaia cae toate The Barber Shop..... KS
Enpis, f. U... Going to Work G. H. Every.
Sf rea! eee Sao Helping Gardener...... C. ToMPKINS.
VATOD AD cri coduistetejora qevonns eins . A wee bit Fractious . W. H. Simmons,
Sunday Afternoon)... ssc. ic soosnccscetsescoedinenon F. STAcPooLe.
DoniGebevShy srs ..sca seeders cine ote Mace aca etenais *.... DESMAISONS.
alms Offorin gee von. seas asees cence see ae teak F. STAcPooLe.
The Mother of our Lord, Obedient to the Law...... S. Cousins.
The Mother of our Lord, Patient in Tribulation.... G
ATOM Nee tat cen an coe cme amelae semm ee eae one LEVASSEUR.
Ghosoanaa Capid’a-Visiti ys oi... cepa es accveseteler es BAL.

Deselale sce sisters Cages Who Bird's: Meals 3c sccca ste skeveceses LEVASSEUR.
INGRES) 2edet coisa Sacchi La Source CALAMATTA.
JOURDAN a eacer ner sereceer A Mother’s Treasure ANNEDOUCHE,
RONIATS ney nace artes alae Coek of the Walk: .iscss.00s0.s000405

ee i craieesdieieie wins steraistaraie ore Little Kittens ......... SONNENLEITER.
Bo Ee ata oe inne The Christening R. GIRARDET.

ena eaaniraSasaatlnicea PBHOUMAEAUG ED i. hiescat saneane ne casters See onto tis

18 Catalogue of Heliotype Engravings of Modern Subjects.

Painters. Title of Subject. Engravers.

LANDSEER, SIR EDWIN...... A Distinguished Member of the Humane Society ..G. Zonet.
SOE acs A Piper and Pair of Nutcrackers..................... ee
Le Sse Brae-Mar... a
Ce TT cai eaves Browsing... T. LANDSEER.
eR Lech i CHOWN aclergh aco hg Sh INNS By roT REN NG RENTS Nap Foo ots Je Sis w
a «sat. Dignity, and ImMpudence ......6.6iccisscsisnsscsceveestes G. ZoBEL,
i Matinee JE bh-Vel Jt bitsy sqonneonanseauds C. C. HoLtyer.
tad ceases King of the Forest T. LANDSEER.
ee eee Laying down the Law..........0.....0055 eee et ee ie
es Reach A Low Life ere CC HOLLVER,
cg Monarch Of thé Glen ...6255 ccs ccc chee casi ee ictecaeees G. ZoBEL,
fe etl aehanes "Princess Bea wice raids caucepasaneen sss aadmoae vas-nes- iene W. H. Simmons.
LM ae eS Onis Pharma ie an Mae ae care csiciniecis asaee-eeis cia cn Beis vacalewsanas T. LANDSEER.
Cy Ramee #) (Stace Red Deer at CHUMAPHAM oii 5 ohiisngndeeses nncear esis G. ZoBEL.
eet Role RNa 687 Shoeing the Bay Mare...................... ...C. G. Lewis.
SE te) paged SUSPENSE eersierst tet oves elated etererass lara yeliyelonsie/e en cee eo sem WEBB:
ee Saad Sar The Challenge See sleionine sey PORTA See os J. W. Warts.
Mey nwiPew sae The COnnGissBurss.as: acumen anes sah reach eantisinieseceean S. Cousins.
CE TRA roanc EHO VBONG jeidorc ce siacisectseewemenier. san asas weak sie ...T. LANDSEER.
aE pad | PTA SR He “There’s Life in the Old Dog yet”......... -..H. T. RYALL.
Oi Mea sae MENG: SUNCLUAVY: soccite shan th se es. cicusiaaes fists ...J. W. Watts.

wi The Shepherd’s Chief Mourner. G. ZoBEL.

a -The Sick Monkey.............. W. H. Simmons.
& -The Sleeping Bloodhound..... ..J. C. Wess.
« -The Stag at Bay T. LANDSEER.
Gs Baa s)od yah is eren apn oaace nna soor GONG Tet mcen C rieene nen G. ZoBEL.
ud -Wild Cattle at Chillingham... 965 ce
LEyJEUNE, H. Great HE XpOCtations) .. qesccesantsacals sa ems ines oecwienioe W. H. Simmons.
ef VROGPRIGINSHOOD «scien cas se tae awed MANS oe elec eee H, Lemon.
Van LERIUS -Lady Godiva ...T, L, ATKINSON.
IVUARIAS 5s Yeten eigtuisiate sin clots crete DPV UNE ake ae oeeantan duende cates SRA GAARA Lan age ote E. WILLMANN.
« “
its - “
MARCHAL PONClOPE 6.42.55 cas sacs s ce enisaned camRan ecg Beerccreras .. BERTINOT. ®
2 ig -Phryne on 2 ELUOTS
MEISSONIER 4..4.00..0000008 The Flemish Smoker ............ » ..RAJON.
5 The Painter........ ....94549-0464 Cones
et -The Reader ........ stg
MEYER VON BREMEN........ Morning Prayer... . WITTHOFT,
& Evening Prayer .............s.004 é fe
IMBIGHIET Tr ieloiteiere ote ss -Little Neapolitan Marauders . . A. & E. Varin.
MILLAIS; Juin... -My First Sermon................: ...T. O. BARLow.
Miutiats, J. E. +. ot VS OF NOP? 0. os cect equa ten ...S. COUSINS.
RUDAUE «442.4% JIURCING 0 256. cin canons caneannennas ...C. A. DEBLoIS,
PEAGIITIG ies a eae to a.cia tT ERMAN cose se
-A Landscape Study............ . .LEVASSEUR.
-Study of an Interior........... ae Ke
Miss Penelope Boothby.......... ...S. Cousins.
The Age of Innocence......... ae os
UO TLL AW DOLE Ys Galles crc'c)sisfols/<' 101-12 1a @RAMAN Ka «3/04 asec e
SCHONLEBER 7A Canal at Rotterdam 5... 2 xcunaswatsanantgy.sccte sss SCHONLEBER.
SCHREMERY sean sicsis- -Abandoned ...C. Morrram,
Wi Mas, ance aa peter AL Wiallachian Team... 22.2505... ssnsmanitr an Sanccrnce ese W. UNGER.
oops Wie event isverstoreeeeniare Tn Dan eer sonia cie aensAnesnawewec taste Aer eee te sees C. MorrraM.
SPANGENBERG -At Dark ...H. Sacus,
VERBOECKHOVEN, MNO MNEQHO? nx. ae as. os acs car gRRVU OM eR GRAMES.s eo 4isce.s spears G. ZoBEL.
VAUTIER , «anys ostsiaciolisnciese Day Dreams « ...3..56 00. 0% skwnseaaAeASEEANAGAS Coc eey vene GEYER.
-.-Morning Glories... .. A. LEDOUX.
Maternal Love sy

THE HELIOTYPE PROCESS.
Patented.

is ‘HE pictures produced by this process are, in effect, photographs printed in printer’s ink

at an ordinary printing-press. They are produced with great rapidity, and independently

of light; they are as permanent as engravings; they require no mounting, but come from

the press with clean margins, finished, and ready for binding or framing.

SSaRCenen

WHAT THE HELIOTYPE PROCESS WILL DO.

It will reproduce fine steel engravings or woodcuts, and
all the highest works of art, so accurately and deli-
cately that they can barely be distinguished from the
original, and at a price that brings them within the
reach of all; thus making it a great art-educator for
the people.

It will render an Artist’s Drawing with absolute fidelity,
giving As own lines just as he draws them.

It will copy faithfully any Map, Plan, Design, or Draw-
ing.

It will give a perfect fac-simile of any Architectural De-
sign, whether in lines or tints.

It is the only known means of representing faithfully and |

economically any illustrations of scientific subjects.

It will copy Statuary and Busts with the most beautiful
results.

It will print lines, light and shade and half-tone, in any
colored ink which may be desired.

It will faithfully copy any Painting, whether of Landscape
or Figure subjects, or any Crayon Drawing.

It will print Photographic Portraits, taken from Life, with
the most artistic results.

It will print Photographic Views, taken from Nature by
the Camera, so that they can hardly be distinguished
from the ordinary Photograph,

It is especially suitable for all illustrations of Botany, Nat-
ural History, Surgery, Architecture, Engineering, etc.

It will accurately copy and represent Coins, Medals,
Armor, etc., in the best possible manner, directly from
the objects themselves.

It is the best and most economical mode of illustrating,
Trade-Circulars, Catalogues, etc., for Jewellers, Cabi-
net-Makers, Upholsterers, Builders, and Manufacturers
of all classes, and Dealers in works of Art.

From subjects in line, Electrotypes can be produced capa-
ble of being worked on any printing-press with or
without type.

Letters and Circulars written with ordinary copying-ink
on ordinary paper can be reproduced with absolute
fidelity without the intervention of Photography.

In all cases it is to be borne in mind that the, reproduction imay be fac-simile in size, or

enlarged or reduced to any desired extent.

Thus it will be seen that the Hrtiorype Process (being the application of Photography
to the Printing-Press) will accomplish all that Photography will accomplish, AND MUCH MORE.
Tt has these additional advantages over Photography : —

1. Ls impressions are permanent, and will never Sade.

2. Vo mounting is required,

3. The rapidity of production is infinitely greater than that of Photography.
4. The cost is very much less than that of Photography.

While the foregoing are a few applications of the process, it will be noticed that the
HELIOTYPE does not negessarily supplant .any existing method of reproduction, but rather

supplements and extends the domain of all.

Messrs. James R. Oscoop & Co. are sole owners of the United States patents for the
HELiotyPe Process in America, and they invite the attention of all interested in Art to its
remarkable results. Specimens of Heliotype production may be seen at their store,

Cathedral Building, Winthrop Square, Boston.

Copied from a steel engraving.

PORTRAIT OF BEETHOVEN.

James R. Osgood & Co., Boston.

Heliotype.

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Heliotype. James R. Osgood & Co., Boston.

HULUTEREETEVEREAGERER ESHEETS ECOSOC

3. DIQcENEs. Copied from the Steel Engraving by Sharp.

Heliotype. James R. Osgood & Co., Boston,

4. Oak TREE. Copied from a steel engraving.

Heliotype. James R. Osgood & Co., Boston.

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VE FROM Henry IV. Copied from a mezzotint engraving.

Heliotype. James R. Osgood & Co., Boston.

6. THE ANGEL RAPHAEL, after Raphael. Copied from a copper engraving.

Heliotype. James R. Osgood & Co., Boston.

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11. Copied from pencil-sketches.

Heliotype. James R. Osgood & Co., Boston,

12, JOHN Quincy Apams. Copied from the painting by Copley.

Heliotype. James R. Osgood & Co., Boston.

13. PORTRAIT FROM LIFE.

Heliotype. James R. Osgood & Co., Boston.

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From nature.

James R. Osgood & Co., Boston.

Heliotype.

THE HotmeEs Housr, ar CAMBRIDGE, Mass.

15.

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From nature.

AGE AT NAHANT.
James R. Osgood & Co., Boston.

Heliotype.

16. SUMMER CoT’

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Heliotype. James R. Osgood & Co., Boston. 4

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155,139,

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155,132. ApPaRaTus ror DRAWING EFFER-
vEsoENT Liquips. Frederick W. Wiese-
brock, New York, N.Y. (Filed Apr. 10,
1874.)

Brief—By the first turn of the cock the
liquid is admitted to the measuring-chamber;
by the second turn communication is opened.
between the measuring-chamber and the ex-
pansion-chamber, from which latter the ae
plus gas escapes; a third turn allows the pas-
sage of the liquid to the receiving- vessel. The
cock has a fourth opening to form & direct
passage from the fountain to the receiving-

vessel.

1. The combination of a three-way cock,
D F, with a measuring-chamber, A, channels
a bf, and expansion-chamber G, and a foun-
tain or vessel containing effervescent liquid,
substantially in the manner herein shown and
describe ed.

2, The additional channel J in the plug of
the’ three-way cock D F, in combination with
the measuring-chamber Yay channels @ bf, ex-
‘pansion-chamber G, and ‘with a fountain or
vessel containing effervescent liquid, substan-
tially in the manner set forth.

155,133. TREADLES FOR SEWING-MACHINES,
Robt. F. Willcox, Memphis, Tenn. [Filed
July 23, 1874.)

Brief—On the axis of the band-wheel is se-
cured a bevel-gear wheel, which meshes with
a similar wheel on an adjustable shaft at right
angles thereto, and is held by means of spring:
catch, so it can be moved backward and for-
ward in its bearings by the operator, so as to
change the motive power from hand to treadle,
nd vice versa when desired.

1, The comvination, with the band-wheel D
of a sewing-machine, of the bevel-gear wheels
E G, adjustable shaft H, and crank J, sub-
stantially as and for the purposes herein set.
forth.

2. The combination of the adjustable shaft
H, having circumferential grooves z «, and
the spring: -catch L, as and for the purposes
herein set forth.

REISSUES.

€,0£3. Pipe-Jom7s. Phinehas Ball, Wor-
cester, Mass, Patent No. 50, 080, dated
Sept. 28, 1865. [Filed Aug. 18, 1874.)
Brief—The guide-clamps keep the ends of
the pipes in proper relative position, support
the compressing-ring in place, and prevent
the lateral displacoment of the cement while
being compressed. After the cement is set
the clamps are removed and used in forming

‘i uew joint.

meee le

1, The combination, wit the arin of the
pipes Kt R, of guide-clamps A A, for the pur-
pose set forth.

2, The combination, with the clamps A A,
of the flanges ff or pins d d, substantially as
and for the purposes set forth,

3. Tho combination, with the under side of
the clamps A A, of pins ¢¢, for sustaining the
lower half of the sleeve while being tilled, as*
described

4, The combination, with the overlapping
parts P and S, of the ears g g and screws « 2,
for the purposes set forth.

5. The combination, with two adjacent
flangeless pipes: of a sheet-metal compress-
ing-ring, B, substantially as and for the pur-
pose set forth.

6. The combination of a compressing -ring,
B, and a cement or analogous packing, OC, with
the ends of two adjacent pipes, substantially
as and for the purposes set forth.

7. The combination of the compressing: ring
B, side walls A A, and packing C with the
ends of two adjacent pipes, all operating sub-
stantially as and for the purposes set forth.

6,049. Car-Springs, Albert Bridges, New

York, N. Y,, assignor to himself and Alfred
Bridges, Patent No. 36,050, dated July
29, gee (Filed Mar, 4, 1874.)

1, A railway-car spring composed of a bar
of steel and an arm formed on or connected
therewith, whereby the action of the spring
is by torsion of the bar, as and for the pur-
pose deseribed.

2. The adjustable torsional apparatus con-
sisting of the connection H, in combination
with the brackets 1234 and levers HF G,
as set forth.

3. The torsional springs M N, in combina-
tion with arms G E F, applied to a car-truck
so that the equalizing effect shall be obtained,
substantially as described.

6,050. TooLs ror THE LIANUFACTURE OF
Parse Bags. Edwin J. Howlett, Philadel-
phia, Pa., assignee of hiniself and Susan
Kirk. Patent No. 63,342, dated Feb. 26,
1867; reissue No. 3,'718, dated Nov. 9,
1869; reissue No. 4,029, dated June 14,
1870. [Filed Aug. 7, 18'74.]

Brief.—The tool serves as a guide to aid in
folding the bottom of the bag.

1, The combination of the board A, blade
B, and adjustable strip D, the whoie being ar-
ranged substantially in the manner described.

2. The combination of the board A, strip a,
and blade B.

3. The combination of a board, A, with a
blade, B, secured substantially as described.

4. The combination of the board A, the
guide-plate E, and adjustable strip D.

5. The combination of the board A with the
plate E, secuted thereto substantially as de-
scribed.

6,051. Saw-SzTs. Oliver Newton, Water-
town, N. Y., assignor to Wm. Nash, New
Britain, Conn. Patent No. 39,323, dated
July 21,1863, [Filed Aug. 3, 1874.)
Brief—The tooth of the saw is grasped be-

tween the dies H G, and at the same time the

projection h on the upper lever presses the
saw-blade down and gives the proper set,

The rocking-lever D, carrying the die H, in
combination with the lever © and the frame
A, provided with the die G and handle B, as
and for the purpose set forth.

6,052. HrzLs For Boots AND SHozs, M. H.
Prescott, Ottawa, Ill. Patent No, 90,192,
ted May 18,1869. [Filed June 23, 1874.)
Brief—Reissue of Patent No. 90.192, granted
May 18, 1869.

1, The hollow heel a, having an inward
flange, d, in combination with the plate e, at-
tached to the boot or shoe at the heel, as and
for. the purposes specified,

2. A metallic heel made hollow, and having
an inward flange around the upper and outer
portion, and with the front portion of the
heel removed sufficiently to allow the heel to
be slipped into place from the rear, in combi-
nation with the metallic plate attached to the
boot or shoe, substantially as set forth.

6,053. Sacepive-Macuines. Silas G, Ran-
dall, Providence, R. I., assignor to A, A,
Randall, same place, Patent No. 187,026,
dated Mar, 18, i873. [Filed May 9, 1874.}
Brief.—The disk-frames recede backward

| in V shape, the front ends, however, lapping

one over the other, and each pivoted to give

free motion. The tongue is vertivally adj ijust-
able. The seeding devices are operated from
one of the disk-gangs by means of a univer-
saljoint connection. Forked scrapers are piv-
oted to the disk-frames, the disks working be-

* tween the forks to remove surplus earth.

. The cotinneety, th the main frame,
AS: the independent disk-frames, arranged in
different vertical planes rele tively to each
other, and with their adjacent inner ends over-
lapping, and lying one behind the other, sub-
stantially as hereinbefore set forth.

2. The combination of the main frame, the
two disk-frames connected therewith in differ-
ent vertical planes, with their adjacent ends,
lying one behind the other, a series of disks
arranged in two independent sets, and an asle
mounted on each disk-frame, on which axle
each disk of the set is loosely mounted, sub-

stantially as hereinbefore set forth.

3. The combination, sw bstantially as set
forth, of a gang of disks, adisk-frame in which
they are mounted, and a main frame, near the
outer end of which the outer end of "the disk-
frame is pivoted, while its inner end is con-
nected with the central portion of the main
frame.

4, The combination, substantially as here-
inbefore set forth, of the main frame, the ad-
justable tongue, and the disk-frames, adjusta-
ble longitudinally, as well as angularly, rela-
tively to each other at their inner ends.

5. The combination of the seed-controlling
apparatus with one of the disk-gangs by means
of a universal-joint connection, whereby the
seeding mechanism is driven by the disk-
wheels.

6. The combination of the disk-shaft, disks
mounted thereon, thimbles interposed betw een.
the disks, and clamp- -nuts, these members be-
ing constructed and operating, substantially
as set forth, to hold the di: securely, and
yet admit of their being readily removed and
replaced.

7. The combination of the disks and the
forked pivoted serapers overlapping the disks.

Printed from an Electrotype made by the Heliotype Relief Process.

25.

Heliotype,

James R. Osgood & Co.,

Boston,

Page of Official Gazette of Patent Office.

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26. Copied from samples of lace.

Heliotype. James R. Osgood & Co., Boston.

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Propurrn Unitary

Copied from a brush-drawing.

James R. Osgood & Co., Boston.

Heliotype.

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Scientific Sub yjects

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Qusts and Sratnary, i
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RELIEF PLATES FROM SUBJECTS IN LINE.

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28. AUTOGRAPHIC SHEET, by direct transfer process. Printed from stone.
GETTY CENTER Libhan
Heliotype. James R. Osgood & Co., Boston.