HETIOTYER PROCESS ERNEST EDWARDS. BOOST ON: JME Sek “OSGOOD A ND COMPANY, 26 LaTE Ticknor & FIErps, AND FieLns, Oscoop. & Co, 1878. tHE BY RING See DINE AGS DiS" WITH TWENTY-EIGHT ILLUSTRATLONS. ___ e 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- e «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 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- amptoh 2 Rumney poh Sandwich — SS. Piersfield ° SAoworth FehorietlonR |’ : Le tniker Be \ StF Hopkinton i Rees: 9 Deering [Bennington toc HI DLS BOROUGH Wiancnesr! Dublin | gGreentett | sadeboro Bedlerd) EABENNINGTON i . Printed from an Electrotype made by the Heliotype Relief Process. Reduced from a tracing. Heliotype. James R. Osgood & Co., Boston. a wood cut. educed from rocess. R te ME. elie ) R 3ER AT Ho if elioty E Bape James R. Osgood & Co., Boston. ny the H Absa ] 24. Heliotype. made pe ectroty I E an Printed from [se SS”S~*~*~“‘~*C«FRICTN GAZETTE, Serveunen 15, 1874. [so ek ree a3t, 155,139, 4 SN Sw hi SsSsss < N e = 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, = 1 n 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. y Printed from an Electrotype made by the Heliotype Relief Process. 25. Heliotype, James R. Osgood & Co., Boston, Page of Official Gazette of Patent Office. I | \ rns Aiea SE nscale q ‘iy. "4 Tata Th wD ; : 26. Copied from samples of lace. Heliotype. James R. Osgood & Co., Boston. F i —— an Chunrh —e— orth Cugtan eS reah +f Ls Propurrn Unitary Copied from a brush-drawing. ip James R. Osgood & Co., Boston. Heliotype. I Ghe sictures pape we how, this proces “‘Ovue, imu pike’, Wicacocks jun koa]: 0 : Che a, 9 hotth, |i: ‘|jan pramias ime ob ary ONS, ew: -PA09. C4 CLO AOOUCLD AUP : |] yroct Accu Yor aus, and independonthy of & logy bs hor, ONL AR [PAHOA Od |]: Enarecroengy 3 thers Lecpnire.no mounting , "bu. come, from. thepprers oh, ||: | Chace McC n> itch and £ecdy for! BiMANG Ov fommumig -LDAGAA|| | oO Se F : is A Drawings. XS 99-99) 99,9 99,9 2 D9 DD D9 9 DDD. = NGRAVINGS E —— << KPRODUCKIONS OF Gi x MIAN AND |DUANS, : ee eae Wrawines NS, AQ \rowimacrs’ AND JSNGINERRS’ |B Desi -BPIORTRALTS. FROM Fy ers, Views From [QATuRE, Botany. ‘S-alNatural |fistory, Surgery, i< Scientific Sub yjects Oe a. Se eA © Qusts and Sratnary, i Coins, Metals, Grmor, @it Paintings. RELIEF PLATES FROM SUBJECTS IN LINE. Sint of oub ee prodicnd wr Akustioked hus the Sooliotype ces % ies KBD don oppliin CTRADE ETE Woh ] Heceeeees of has = ae = Ge Ze ke ae td oteed, without, Lie Cheenleon’, CG; LE iy, lopefite iy yy ) the MLELIOPYPE |DIRECT {PRANSFER PROCESS. By. thes, pee, Ee ‘Da Le ee me wh GY. LGM J, Catepgph La LEN, Ot B71 ee eugenale ies $s wttten ay eee OPE eee pe eae frapeer, ar heeds Ln Chol told 5 aes LOC; fecated, fom _Atorne Opec Lak 637 Bol. the Bre OQueners Q/ ; Finest Patents 28. AUTOGRAPHIC SHEET, by direct transfer process. Printed from stone. GETTY CENTER Libhan Heliotype. James R. Osgood & Co., Boston. oT