No. 8.] THE ART MINIATURE PAINTING COMPRISING THEj NECESSARY INSTRUCTIONS FO^ ITS ACQUIREMENT, C. W. DAY. REVISED, PARTLY RE- WRITTEN, AND ILLUSTRATED BY MAY TAYLER EIGHTEENTH THOUSAND, '3ts ptobal artifirtnu WINBOH & NEWTON* Limited, RATHBONE PLACE* LONDON, ENGLAND. — " - Ericie Cue Shilling* Digitized by the Internet Archive in 2016 https://archive.org/details/catalogueofexhibOOfeno [No. 8] The Art of Miniature Painting Comprising the Necessary Instructions for its Acquirement By C. W. DAY Revised, Partly Re-Written, and Illustrated By MAY TAYLER EIGHTEENTH THOUSAND ARS PROBAT ARTIFICEM. WINSOR AND NEWTON, LIMITED RATHBONE PLACE LONDON, ENGLAND CONTENTS. PAGE Origin of Painting Miniatures ... ... ... ... 9 Ivory ... ... ... ... ... ... ... 9 Brushes ... ... ... ... ... ... ... 11 Prepared Ox-Gall, etc. ... ... ... ... ... 12 Colours used in Miniature Painting ... ... ... 13 Palette ... ... ... ... ... ... ... 13 Carmine ... ... ... ... ... ... ... 13 Bose Madder ... ... ... ... ... ... 13 Crimson Lake ... ... ... ... ... ... 14 Alizarin Crimson ... ... ... ... ... ... 14 Venetian Bed ... ... ... ... ... ... 14 Light Bed ... ... ... ... ... ... ... 14 Fair Complexion ... ... ... ... ... ... 14 Scarlet Vermilion ... ... ... ... ••• ••• 14 Chrome Yellow ... ... ... ••• ••• ••• 14 Indian Yellow ... ... ••• ••• ••• ••• 15 Boman Ochre ... ... ... ••• ••• ••• 15 Yellow Ochre ... ... ••• ••• ••• ••• 15 Cadmium ... ... ... ••• ••• ••• ••• 15 Aurora Yellow ... ... ••• ••• ••• ••• 15 Aureolin ... ... ... ••• ••• ••• ••• 15 Cobalt * 15 French Blue ... ... ... ••• ••• ••• 15 4 CONTENTS. PAGE Prussian Blue ... ... • •• ••• ••• ••• 15 Indigo ... ... ••• ••• ••• ••• 1& Sepia ... ... ••• ••• ... ••• ... 16 Brown Madder ... ... ... ... ••• ••• 16 Burnt Sienna ... ... ... ... ••• ••• 16 Burnt Umber ... ... ... ... • •• ••• 16 Lamp Black ... ... ... ••• ••• ... 16 Chinese White 16 Compound Tints ... ... ... ... ... ••• 17 Purples ... ... ... ••• ••• ... ... 17 Greens ... ... ... ••• ••• ... ••• 17 Green as a Colour... ... ... ... ... ... 17 Orange ... ... ... ... ••• ••• 17 Browns ... ... ... ... ••• ... ••• 17 Blacks ... ... ... ... ••• ••• ••• 18 Gold ... ... ... ... ... ••• ••• 18 Painting a Miniature ... ... ... ... ... 19 How to Cut an Ivory ... ... ... ... ... 19 Outline of Work ... ... ... ... ... ... 20 Position of the Head ... ... ... ... ... 22 Colours used to obtain Flesh Tints ... ... ... 25 Shadows ... ... ... ... ... ... ... 26 Colours used for Shadows ... ... ... ... 26 Half Tints 27 Eyes 28 Colour of Eyes ... ... ... ... ... ... 28 Cheeks and Lips ... ... ... ... ... ... 29 Neck and Bosom ... ... ... ... ... ... 29 CONTENTS. 5 PAGE Hair ... ... ... ... ••• ••• ••• 30 Flaxen Hair ... ... ... ... • •• • •• 30 Auburn Hair ... ... ... ... ••• ••• 30 Chestnut Hair ... ... ... ... ••• ••• 30 Mouse-coloured Hair ... ... ... ... ... 30 Bright Red Hair ... ... ... • • • • • • • 30 Black Hair 31 Grey Hair ... ... ... ... ... ••• 31 Lights and Shadows on Hair ... ... ... ... 31 Eyebrows ... ... ... ... ••• ••• 32 Ears ... ... ... ... ... ••• ••• 33 Drapery ... ... ... ... ... ... ••• 33 Backgrounds ... ... ... ... ••• ••• 35 Gum on Miniatures ... ... ... ... ••• 36 Harmony ... ... ... ... ... ••• ••• 36 Finishing Touches ... ... ... ••• ••• 37 Expression in the Eye ... ... ... • • • • • • 37 Blotting Paper ... ... ... ... • • • • • • 38 Stippling 39 Reflections... ... ... ... ••• ••• ••• 39 Miniatures on Paper ... ... ... ••• ••• 41 Conclusion... ... ... ... ••• ••• ••• 43 PREFACE. In revising, partly re-writing, and illustrating Mr. C. W. Day’s most excellent work on the Art of Miniature Painting, and preparing the following pages for the press, I assume the knowledge of my readers of the groundwork of the artist’s profession, hut of none of the Art of Miniature Painting. My desire is, therefore, to set forth the principles of this Art, to treat of the materials used, and the process of using each in the most simple manner possible; following through the various stages, step by step, the methods of our great dead and living Masters. I hope that in having these examples before me, in carefully explaining each phase of the work of this Art as it is done in the present day in order, I shall thus successfully and thoroughly have brought home my subject to the understanding of my Deader s. May Tayler, Member of the Society of Miniaturists. London : June 1905. PAINTING A MINIATURE. The term Miniature is derived from the Latin minium — red lead — the connection being found in the fact that the Art of Miniature Painting developed from the practice of illuminating initial and other leading MSS. with red lead and vermilion ; the small figures introduced into such illuminations were called by the Italians miniatura ; and hence, when the practice of separately painting minute portraits arose, they were known by the same name. There are three kinds of materials on which miniatures are painted, namely, vellum, ivory and paper. The last two being the most used in England, I shall confine my remarks to them, and of these principally to ivory. IVOKY. The choice of an ivory upon which to work is quite an important matter. There are two sorts in use, hard and soft ; but as the latter is absorbing, and therefore requires much more tedious working, being most difficult to wash colour upon, I do not recommend it. Choose a hard ivory, be sure it is 10 IVORY. quite free where the face and neck are to come from streaks, scratches, or blemishes of any kind. For the dress and background the striated, vertical grains do not matter, as so much colour w T ill be used probably they will not be observable. A good way to test whether an ivory is suitable for the work about to be done upon it is to hold it up to the light grain-ways, and look into it thoroughly, turning it from side to side ; it will then also be observed that there is a wrong and right side: one, the wrong, being rather rough, the right being smooth. There are various tints of the ivories which are used in Miniature Painting, ranging from white, or bleached , used only for very fair children or women, to warm, darkish cream, which is that which is usually chosen with advantage for brunette com- plexions ; but it is the light creamy tint which is generally best for all purposes. Ivory properly prepared for use is now to be found in all artists’ colour shops ; and as it is, few, if any, miniaturists prepare their own, doing so is a mere waste of time, and is therefore to be avoided. The postal arrangements of the present day being so quick and perfect, they bring all things within easy reach of those living in the country and abroad, and thus to artists also, to whom preparing their own ivories was at one time necessary, owing to possible difficulty in getting any ready prepared out of the large towns. IVORY. BRUSHES. 11 Should ivory get yellow by time or by being shut up in the dark, wet it with clear water on both sides and put it to dry in the sun ; this will effectually re-bleach it. BRUSHES. Sable brushes are indispensable for Miniature Painting, the short red sables which have been brought back into use again lately by Messrs. Winsor & Newton being far preferable to any other kind. It is therefore specially advised to use these only, as owing to their being capable of holding more colour, and coming to better points, it will be found that the work for which they are used pro- gresses far more quickly than it did when the long sables only were to be obtained. Camel Hair Brushes are almost worthless, as they have but little elasticity. The size of a brush used depends solely upon which part of the miniature it is to be worked. For the first, or “ shadow,” washes in the face, hair, drapery, etc., a No. 5 or 6 is best, as thus that broadness of touch so necessary in the general effect of a portrait is quickly arrived at, and which, by using a smaller brush, it would be much more difficult to obtain. 12 PREPARED OX-GALL. PREPARED OX-GALL, Etc. This preparation is not often necessary for ivory, though it is indispensable for greasy paper. There are occasions, however, when it must be used also on the former substance when working over a colour in putting in shadows. This is specially noticeable when lamp black has been used. A glass muller, a ground-glass slab, and a small palette knife (these latter articles are for those only who grind and mix their own colours — a practice not to be commended, as those bought ready pre- pared could not possibly answer their purpose better) will be required. Also a bottle of gum- arabic, not too thin, a tracing point, which must not be too sharp, or it will indent the ivory and make a line or scratch which it will be difficult to paint over ; and lastly, a scraper, to soften too deep tones, to delineate hairs and some of the higher lights, and for which nothing answers these purposes better than an ordinary sharp penknife, carefully used. COLOUBS. 13 COLOUBS. Now as to Colours. They should be the very best which you can get. Those supplied by Messrs. Winsor & Newton, Ltd., I have used for many years, and I consider them incomparable. One can afford to use the best only, for a set required for use in Miniature Painting in half-size cakes ought to last almost a lifetime, and that, too, to an artist who is constantly at work. The best palette to work with should have the following colours : — Carmine, Bose Madder, Crimson Lake, Alizarin Crimson, Venetian Bed, Light Bed, Fair Com- plexion, Vermilion (scarlet), Chrome Yellow, Indian Yellow, Boman Ochre, Yellow Ochre, Cadmium, Aurora Yellow, Aureolin, Cobalt, French Blue, Prussian Blue, Indigo, Sepia, Brown Madder, Burnt Sienna, Burnt Umber, Lamp Black, and Chinese White. To treat each separately, and so as to make this lesson to Miniaturists as simple as possible, I shall write a short description of these colours separately, in order. Carmine . — This well-known brilliant crimson possesses great power in its full touches, and much clearness, too, in its pale washes, although not equalling the Pink or Bose Madder in this latter quality. It also flows and works well. Bose Madder . — This is a very delicate carnation tint that is quite indispensable to all Miniaturists on 14 COLOURS. account of its permanence, and it is much clearer in its pale tints than either Crimson Lake or Carmine. Crimson Lake . — Very similar in its character to Carmine, but wants the extreme brilliancy and richness of the latter. It is most useful for mixing with the various tints in draperies. A lizarin Crimson. — - Where permanence and depth of colour are required this pigment is greatly superior, for this reason, to Lose Madder, which latter was previously the only one available for the purpose, although lacking in intensity. It has a slight brownish tint, and is thoroughly durable. Venetian Bed . — An invaluable, permanent, and beautiful colour. Its tints, though not bright, are clear. Mixed with Cobalt it makes a fine pearly grey. Light Bed . — A clear and transparent low-toned red, similar in character to Venetian Bed, with somewhat more of an orange tone. Fair Complexion.— It is Mr. Praga’s opinion, and I entirely agree with him, “ that no Miniaturist’s palette is to be considered complete without this tint.” I use it generally in place of Light Bed, as it has a brighter and fresher colour, and mixed with Cobalt it makes a beautiful neutral tint. Scarlet Vermilion . — Bather a heavy colour, wanting in transparency, and which must be used but very sparingly. Chrome Yellow . — A body, or opaque colour, brilliant and indispensable for heightening light ; COLOURS. 15 but, like the above, must also be used very sparingly, as it is not permanent, being liable to blacken. Indian Yellow. — A fine, rich yellow, which is permanent and works well. It makes a good flesh tint mixed with Venetian Bed and Bose Madder. Homan Oclire. — Is used for dark flesh-colour and draperies. Yellow Ochre. — A subdued yellow. Most valuable mixed with Bose Madder for very fair complexions ; also with blue for shadows, etc. Cadmium. — This is a beautiful, powerful orange yellow, brilliant and nearly transparent. It is the best to use to obtain an orange hue. Aurora Yellow. — A brilliant and opaque variety of Pale Cadmium, which forms a perfect substitute for Chrome Yellow in Miniature Painting. Aureolin. — This is a very beautiful and delicate yellow, transparent and permanent. Cobalt. — One of the most necessary colours in Miniature Painting. It is a clear, bright blue, which washes in well, and is useful in every way. French Blue. — Darker than Cobalt, and of great depth. It is permanent, resembles much the tint of Genuine Ultramarine, not quite as pure and vivid, but generally more useful, as it washes and works well. Prussian Blue. — Much used in miniature draperies, useful also to represent blue velvets, and when mixed with Carmine all the varieties of purple, violet, and marone velvets may be obtained by it. 16 COLOURS. Indigo. — A useful colour in compound tints. Sepia. — A valuable cool, brown pigment, its pale washes being very clear ; while, mixed with other colours, it affords a series of valuable tints. Brown Madder. — A rich lakey, russet brown, affording equally the richest description of shadows and the most delicate pale tints. It forms a very soft shadow colour with Blue for the deepest tones in flesh. Burnt Sienna. — A rich, transparent brown orange, useful in warm complexions. Burnt Umber. — Useful in hair and draperies. Lamp Black. — An opaque black. Excellent for mixing with Chinese White as a body colour. It is the ground for a black coat, having a very strong body that covers every underlay of colour readily. Chinese White. — It excels every other white pigment which has hitherto been used as a water- colour, having a fine body, working well, and being quite permanent. It has been introduced by Messrs. Winsor & Newton. It is the very best one can use for highest lights, draperies, etc., and being an oxide of zinc it cannot change and become black as some other pigments do. COMPOUND TINTS. 17 COMPOUND TINTS. As this treatise is a lesson from beginning to end, it is as well to mention at this point how the artist can obtain those various tints known as Compound, i.e., mixtures of two or more pigments together, and which form Purples, Greens, Orange, Browns, Blacks and Golds : — Purples. — Carmine, or Lake and Indigo, or Carmine and French Blue form dark purple. Carmine and Cobalt a lilac purple. Greens . — Indian Yellow with Indigo or Prussian Blue will form a dark green. Roman Ochre, Indigo and Sepia will form a dull, drab green. The shadows of green are often of a reddish colour (Venetian Bed or Lake, mixed with Sepia.) Green is a very powerful and, if used in large masses, disagreeable colour ; but those composed of Roman Ochre, Indigo and Sepia, or Yellow Ochre, Indigo and Cobalt are useful in backgrounds for toning down the otherwise glaring effect of a warm colour, such as the scarlet used in military uniforms, or to take off the hard look of a black or dark coat or dress. Orange . — Cadmium mixed with Carmine and Lake form an orange tint, the shadows being given with Carmine or Lake, qualified with Sepia. Browns . — While Sepia and Burnt Umber are the principal browns used in Miniature Painting, a very rich one can also be composed of Sepia, Lake, and a little Indigo. b 18 COMPOUND TINTS. Blacks. — Indigo, Lake, and Gamboge form a transparent black. Lamp, or Ivory Black, an opaque black, which is used for black velvet or coats, the lights of which are made by mixing with it Chinese White. Gold . — For the local colour of gold lace, etc., Boman Ochre will be found bright enough, as gold is really a quiet colour, the shadows seen in it being put in with Burnt Umber; and should the coat be red a little vermilion will come into the reflections, while the high lights are shown by using Chrome Yellow mixed with Chinese White and toned, where necessary, also with Burnt Umber. PAINTING A MINIATURE. Having discussed the materials necessary to be used in painting a miniature with his master, the learner now proceeds to work, the model being in position, and the ivory — a No. 4 (Winsor & Newton’s) is a very good general size — is chosen. This being semi-opaque it is absolutely necessary to put a white substance underneath. A few thick- nesses of writing-paper gummed together about one inch from the edge and then to the ivory answers this purpose admirably, otherwise the painting would have a bluish tint, which would be altogether wrong. Should the shape decided upon for the miniature be a circle or an oval, it is strongly recommended that either is cut first before beginning to paint. Any artists’ material Firm will do this for the small charge of 3d. or 4d. Cutting the ivory to the desired shape by the artist is not advisable, for, though it is really a very simple process, ivory being hardly any thicker than a sheet of thick writing- paper, all the same there is the proper way of doing it, and a proper instrument, which an artist does not usually possess, but which is far better than the pair of scissors which he would use. Should he, 20 PAINTING A MINIATURE. however, decide on cutting it for himself he is to avoid cutting with the grain of the ivory ; for should not this knack be understood the result will be splitting. Hold the ivory up and proceed to cut it with a sharp scissors, starting from the part marked “A” in the following diagram — and going round the oval towards “ B ” ; then reverse the ivory, and from “A,” or the middle, cut round to “ B,” or the top. It is far the best plan to cut out the desired • shape before any work is done, for splitting a highly-finished piece of work would be very disheartening to a beginner. The ivory PAINTING A MINIATURE. 21 oval in shape, now being gummed to the thicknesses of paper about one inch from the edge, a margin of paper is thus left all round for the purposes of pinning it to the desk, book, or whatever is chosen to place it on for painting, and for trying the effects of the various tints before putting them on the ivory, the appearance of the latter on the desk ready for work being thus : — Another great advantage in having the ivory cut first is, the artist can at once judge which is the^best size and position for the head which he is 22 PAINTING A MINIATURE. about to paint. These details having been carefully attended to, and the model being now in position, the drawing in of the outline is commenced. To get this correctly is an important, if not the most important, step in the painting of a portrait ; no likeness is possible without it. It is not a bad plan for beginners to make first a good clear outline on a piece of ordinary, drawing-paper, putting it then under the ivory, which is semi-opaque, and with a sable pencil trace it on in Venetian Bed. A good clear outline of each feature will thus be obtained, which will in no way interfere with the subsequent working of the miniature. On no account is a lead pencil ever to be used ; the marks, however faint, would be sure to work up through the colour in the form of a hard gritty line. In recommend- ing a sable brush with which to trace the outline, in preference to a “tracer,” it obviates the smallest chance of the ivory being scratched or indented, as it is possible it would be in using the latter. The outline on paper being completed, there will be no difficulty when tracing it on to the ivory in deciding which is the best position for placing the head in the miniature. And it is to be remembered that it always looks best placed high, the chin about equidistant; this in painting merely the head and shoulders is applicable to any sitter, as it does not suggest the natural height in one way or another. It is only when it includes below the waist that it counts. PAINTING A MINIATURE. 23 The outline completed on the ivory appears thus (Plate I.) : — Generally speaking, if the head be not placed in the middle of the picture, it should be allowed a little more space in front than otherwise. Drawing, too, of the head and body in the same line is very much to be condemned, as it gives a stiff appearance 24 PAINTING A MINIATURE. which is unnatural ; turn the figure slightly away from the face as to be seen in the illustrations, so as to give it a marked though not a great variation — not too great, lest it looks strained, or have the appearance of too much motion — a great mistake in all mere portraits, especially those on so small a scale as miniatures. The first stage of the miniature being now completed, the drawing having been revised (the revision should be made constantly) and found satis- factory, the learner begins to paint. As every artist sees Nature with different eyes to his fellow, it is quite impossible that each is to he expected to abide by any hard and fast rules as to the formation of the palette. It is well to use as few colours as possible, and to use them according to what the artist himself sees. The colours, however, which are recommended in this work are those used by the greatest living Miniaturists, and they produce every effect which may be required, beginning with the local flesh colour, which must be washed in in delicate tints over all the flesh with a large brush (No. 5) before the shadows and half tints are put in. It must be remembered that ivory is not generally absorbent. It is not an ordinary water- colour surface, from which you can take off super- fluous colour, upon which you are working. The artist must at once make up his mind what he wants to do, and that the colour which he puts on will remain — at least as far as the general effect is con- PAINTING A MINIATURE. 25 cerned. The nearest approach to flesh colour is composed of either of these following compounds: Very fair complexions, Rose Madder and Yellow Ochre; ordinary complexions, Venetian Red, Indian Yellow and Rose Madder — mere dashes of each mixed in a whole. This general tint is to be left untouched in the rest of the work, those used for the modelling of the face, neck, and arms being worked into it, in the portraits of women and children, with the best possible results. With men, whose flesh tones are naturally more hard and weather-beaten, Roman Ochre, sparingly (all Yellows in flesh must be thus used, as they are very powerful), is used instead of Indian Yellow. These are, however, to be used as general principles ; every face has s&me peculiarity of colour in it, which it is the business of the artist to observe and to imitate. 26 SHADOWS. SHADOWS. In Plate I. merely the outline of what the work should appear at this stage has been shown. Being now satisfied that the local colour which has dried in is the same as that of the general flesh tint of the model, proceed to wash in the shadows above the eyes, the shadowed side of the nose and face, under the lower lip, and those of the neck and jaw, using for this purpose Brown Madder, Cobalt and Yellow Ochre, or Venetian Red, Cobalt, Rose Madder and Indian Yellow ; in both these palettes the colours recommended are useful for any complexion, but must be mixed as the occasion may require — inas- much as each shadow not only varies from the others, but those in one face will differ from those of another. I have given, therefore, those colours suitable for general mixtures to be made bluer, greyer, or more purple, as the occasion may require. For the hair, should it be brown, Light Red, mixed with warm Sepia, would he used. The accompany- ing illustration shows the appearance the miniature now has with the first shadow tints worked on it. (Plate II.) Having now, the artist will see (Plate II.), the chief masses with the shadows washed in, hard edges must all carefully be softened with a brush moistened in clear water. There is nothing hard in a face; each shadow, no matter how hard it may appear to an uneducated eye to be, is really softened PLATE II, SHADOWS. HALF-TINTS. 27 and blended into the faintest shades which an artist only sees, and seeing makes those nice distinctions between shadows and THE HALF-TINTS. These half-tints are composed of purples and greys, and they should never be so violent as to give the appearance of too much blue or too much purple being used— the delicate shadows on the forehead being more grey than those on the lower part of the face ; the half-tints under the eyes being more inclined to be purple ; but whenever the deep shadows blend with the general flesh-tint a lilac or a grey will be seen, according as the complexion is fair or dark. Some artists look for green tints in a face. It must be remembered one can see almost any colour by looking for it, but the green seen in some of the flesh in the works of modern artists arises probably merely from their having studied oil pictures by Old Masters, and forgetting that the original greys in them have become green by the varnishes over them having turned yellow. 28 EYES. EYES. The shadows and half-tints now being in, again carefully revise your drawing ; any corrections which may be necessary must be made in the early stages ; having done this, the artist returns to what is the “very key-note” of his portrait, i.e ., the eyes. I begin with the eyes — the last touches on the finished miniature are put on them ; in them the light and life and expression more or less of the face is found ; and it would be well for all learners to study the eyes alone in Richard Cosway’s minia- tures and observe the marvellous light, brightness, and intelligence which is shown in them in all examples of his works. From the first the iris colour is put in and the pupils carefully drawn. This applies to all features ; the accents must be drawn first, but the artist is not to attempt to finish any one part and then proceed to another and then finish it — this is wrong. All the various steps in a portrait must go on together as much as possible, and so result finally in one harmonious whole. The terms blue and black eyes are simply relative. Blue may be made by Cobalt modified by “ shade colour ” ; Black by a mixture of burnt Sienna with it ; if very dark brown, by one of a little Lake and Sepia. For some blue eyes which have what is called a “violet tint” add a little “Rose Madder ” to your Cobalt, and you will obtain it. CHEEKS AND LIPS, ETC. NECK AND BOSOM. 29 CHEEKS AND LIPS, Etc. The nearest approach to the colour in the cheeks is found by using Bose Madder with a most sparing touch of Scarlet Vermilion. Children have in their lips more of the Vermilion, adults more Pink Madder, while old people have more Purple. I do not recommend Carmine, though some painters use it ; not only is it too bright, but it is also very fugitive. It is also to be remembered that as the upper lip is always in shadow it is therefore darker and less bright in colour than the lower. The nostrils must not be made too red, the shade used for the upper lip, qualified with Cobalt and Brown Madder blend — and the whole portrait must be a perfect blending of one tint toning with and giving value to those with it — best with the general tone. NECK AND BOSOM. The shadows of the neck and bosom are invari- ably of a greyer — slightly inclined to purple tone, and this may be obtained by a mixture of Cobalt and Brown Madder, the shadow where the neck meets the collar bone being slightly redder than those on the bosom, which are usually of a bluer tint. 30 HAIR. HAIR. The shades of hair are so numerous it is almost impossible to put down a certain formula of colour in a work of this kind to be used for each. The best plan by far is to match your tints according to those seen in the hair of the model, and work from it, and not from the imagination. Keeping ever in mind that the lights on hair differ from the local colour, lights on black hair would have a bluish, on brown a purplish hue ; for instance, it is quite wrong to make shadows of hair of the same tint as the local colour merely by making it of a stronger tint. A few of the general mixtures recommended by artists I give here for the guidance of those for whom this work is written. Flaxen Hair . — This is produced by Homan Ochre modified with Sepia. Auburn Hair . — Local Colour, Burnt Umber mixed with Burnt Sienna ; for the deepest shadows add a little Lake. Chesnut Hair . — Local Tint, Burnt Umber, shades Lake modified by Sepia, and in this the deepest shadows often partake of rather a purple hue. Mouse-coloured Hair . — Neutral Tint and Burnt Umber make a lovely mixture, shadows of which are put in with Sepia. Bright Bed Hair . — Never exaggerate this tint. It is formed by using Venetian Red and Lake, modi- HAIR. 31 fied by Sepia or Burnt Sienna. If a golden hue is in it, use a little Roman Ochre. Black Hair . — Local Tint — Indigo, Lake and Gamboge, for a black or rather a purple of a brown or blue tone, according as one or the other of these colours may predominate. Grey Hair .— Cobalt and Sepia with a little Light Bed will produce an excellent tint for Grey Hair. The light and shadows of hair generally must be painted in masses ; every touch should mean something. In finishing never attempt to make out single hairs, except when it is done to divide the masses, or to break the contour of the face ; but even for this purpose small tints, or locks, rather than single hairs are best. 32 EYEBROWS. EYEBROWS. The eyebrows differ according to the hair, but are often much darker. It is well to remember that eyebrows are never “arched” in nature, and they invariably partake more or less of the following form — Fig. i. and must be drawn with this feeling, The nearest point to the eye being where it approaches the nose, and the widest part is above the outerlcorner. of the eye. Fig. ii. EAR. DRAPERY. 33 EAR. A prominent ear is a disfigurement ; it must always be repressed; therefore, tone it well down that it may be secondary to the more important lights. The feature is generally of a pink hue. DRAPERY. The flesh tint, light and shadow, also the general expression of the face having been arrived at, the artist now proceeds to put in the drapery. It is of the utmost importance to remember that the lighter and more delicate it is in the miniatures of women and children the more will it be in harmony with the face. For fair complexions something white should always be near the face and neck ; it will give the best tone, as well as be the very best test of a good flesh colour, the high lights being composed of Chinese White ; the lower, or shadows, of those used, more or less, in the flesh tints, ranging warm or cold according to the texture of the material chosen, both put on and in broadly with a large (No. 4) brush, bringing out afterwards the details of lace, etc., with one as small as No. 1. While white or very pale tints are more suited to fair complexions, black (this is a negative colour) or warmer shades are best for the glowing dark ones, or for elderly people. It is, however, necessary c 34 DEAPERY. to remember that, in choosing the tone for the colour of the dress, you are doing so with the primary object of assisting and not destroying the complexion. Ever avoid anything approaching to gaudiness, for anything gaudy in a picture is vulgar; and though the hues which we copy may, collectively, in nature not appear so, there each toning the other into its proper place, it is very different in the small space afforded in a picture. I would point out, too, to all those learning the art of Miniature Painting the help which they would be likely to obtain from carefully studying the exquisite refinement of the arrangement of Richard Cosway’s subjects in their filmy delicate draperies, and for which he was so much renowned. BACKGROUNDS. 35 BACKGROUNDS. When the head and drapery have been put in, the background, or that part which forms the picture, is proceeded with ; and its use is not merely to throw out the principal object, but by its tone and colour to harmonise the whole. On no account is a background to be crowded with unmeaning objects, such as curtains, columns, etc., thus ruining the general effect of refined simplicity necessary in such limited space. Now the more delicate the colour the more soft— and softness in a miniature is an absolute necessity — the more is the work to be appreciated. Cosway, to whom reference has been made already, but little varied his backgrounds. They were almost invariably blue and white. Sometimes his heads were relieved by blue, at others by white, each — the blue and white — suffused into each. But then he painted at a time when everyone with any pretension to being fashion- able was a blonde. A heavy crowded background to a delicately-coloured flesh is a great mistake, while a moderately dark one is necessary to tone a dark dress, coat, or brilliantly-coloured uniform. The learner will find that a pale wash of Cobalt — the tone deepened with a shadow tint as it goes lower in the picture, or a wash consisting of Yellow Ochre, Pink Madder, and Cobalt — beautiful ground- work tints upon which to work. 36 BACKGROUNDS. Though gum is not generally used in the first workings of the head and drapery in a miniature, it is better to use a little with the colours used form- ing the background, wash them in broadly — do not attempt to stipple ; when the general tone is found to be dark enough to harmonise with the face, leave it, and then begin to finish it (face) and drapery. Study the work well, do nothing carelessly ; it is worth care. The just adaptation of the parts of the picture, or the harmony of the colours, the lights and shades are never to be lost sight of, and it is also to be remembered that no violent contrasts are at any time possible. Difficult as this harmony may be to arrive at with beginners, this is a principle which must never be forgotten ; by degrees the eye will become educated to perceive, and, indeed, require it. PLATE m. FINISHING TOUCHES AND REFLECTIONS. 37 FINISHING TOUCHES AND REFLECTIONS. The miniature will now appear thus (Plate III.). The constant looking at the progress of her miniature by the sitter while the artist is working upon it I do not recommend. It is generally most unsatisfactory to both, but now that the last stage of the work has been arrived at, i.e ., the time when special attention must be given to the finishing touches and reflections, it is advisable for her to look and suggest any alterations which she may desire. It is best that they be put in now, as altering a work after it is supposed to be finished is difficult. I would here mention one of the greatest helps to the ultimate success of a portrait, and for which success every true artist strives, is to please his sitter, be it a man, woman, or child in every way in his power. Kemembering this most impor- tant point, that in doing so, if his model is pleased, it will then be easy to put in in a satisfactory manner those final touches, with their full value, and which will in their careful portrayal give the true likeness of the face. It is in these final touches that the expression is concentrated. There is a happy one — observe it. The brightness of the eyes — see the tiny speck of light where it comes, put it in with Chinese White, without this speck, they would look dull and lustreless. In the darkest part of the eye, the eyelashes, the corners of the 38 FINISHING TOUCHES AND REFLECTIONS. month — and it is in the eye and mouth that the true expression is to be found ; — the final touches, too, in the hair, and, indeed, the strengthening of all shadows, is to be arrived at by using of those shadow tints already recommended in the first stage of the miniature, these final touches being strengthened, and their force and transparency shown, by using with them gum arabic, not too thick, but properly diluted with water ; the brush, also, must not be too moist, or the result will be the working up of the under painting. In the preface of this work, it will be remembered, I surmised the knowledge of the learner with the groundwork of the Artists’ Profes- sion ; he will therefore know that to keep his brushes in the proper state of moisture he must work with some blotting-paper beside him, on which he can remove all superfluous colour, and in removing it he will, at the same time, get his brush to a good point. The miniature has now arrived at an almost finished state. Yet, on looking at it, owing to the ivory being a hard substance, the tints do not appear blended one into the other, as would be the case had the artist been working on paper. Certain inequalities are observed : the flesh does not look even as that of the sitter ; it is lined ; therefore, to model and blend one colour into the other it is necessary to dot, or, to more correctly express it, to “ stipple ” out these inequalities. Some of our present-day miniaturists object to this “stippling,” and it is, I FINISHING TOUCHES AND REFLECTIONS. 39 grant, a great mistake if carried to such an extent as to make it appear that the work has been an interminable labour. It must, however, be done ; to a certain point it is absolutely necessary, but it must not strike the eye. In defence of this method I cannot do better than quote the words of that great living miniaturist, Mr. Alyn Williams, and say — “ All the great miniature painters on ivory of by- gone days, finished their flesh by stippling, and what better precedent can our modern artists, have ? ” Great patience is required to do away with any appearance of labour in these finishing or “ stippling ” touches, and in these days of hurry and scurry, artists, as well as the majority of the human race, are not inclined to take the same time in endea- vouring to bring their works to the same degree of exquisite perfection as did their forefathers in those days gone by, when it was not thought essential to work by express speed. Stipple in, then, and thus fill up those little in- equalities, taking out with your pen-knife carefully any too dark spots which may appear. These minute touches of colour must not be put in all of the same shape; the artist is to fill up the spaces as nearly in the forms as they happen to be left. In marking the reflections, observe how those of the dress or coat fall on the head and neck. The dress of the sitter is white; it is reflected on the side of the head and on the chin (see finished 40 FINISHING TOUCHES AND REFLECTIONS. miniature) , between the points of the jaw and the deep shadow next the neck. The easiest way to get this is again with the knife to gently scrape the low tone to a higher one, observing carefully the model the while. In painting the miniature of one wearing a brilliant scarlet uniform, or a dark dress, then into the reflections, a little vermilion, or of the dress, whatever the tone may be, would appear. In ob- serving carefully all these points the artist gets that harmony in his finished work which he requires. MINIATURES ON PAPER. 41 MINIATURES ON PAPER. There are trifling differences and some advan- tages, painting on paper. It admits of bolder and larger drawing and painting than on ivory ; it washes more easily, and is never so highly worked. It may either be left sketchy, as a vignette, which could not so well be done on ivory, or it may be filled up as a picture. On paper, however, the lights must be left, as the scraper cannot well be used, for by it the surface of the material would be destroyed. There is a mode of partially supplying this latter defect, and, when your colour has rough- ened the paper, of smoothing it and producing almost the surface of ivory ; so that you can stipple it quite as readily, and nearly as finely, if you choose. It also allows you, if it be necessary to wash out an error, the power of perfectly repairing the injured surface. The process to which I refer is that of the “plate and roller.” This roller is somewhat like a common table castor, furnished with a handle. One mode of using the plate and roller is to place the face, or any part you may require to be affected by the process, downwards on the plate, and to rub, or rather press, the back of it with the roller until the requisite smoothness is attained ; but another is somewhat different. Having placed the place to be smoothed, which is generally the face, carefully upon the plate with the back of 42 MINIATURES ON PAPER. the drawing downwards, put a piece of glazed writing-paper over the surface, and use the roller then over that ; by this means it is more quickly done with less labour and with less danger to the work being injured. However, whichever plan is adopted, carefully place the part you wish smoothed as nearly in the centre of the steel plate as you can, lest the roller should go over the edge of the plate ; in this case a most undesirable indentation would be made on the paper. Apply the roller quite evenly, not in one direction ; when you have rolled from one side of the face to the other roll a second or third time in a diagonal direction, so as to remove any ridges which may possibly have been made in either direction. Occasionally lift up the writing-paper so as to see what degree of smoothness the surface is receiving, also so that you may see you are not exceeding the limits of the flesh colour ; as, except in case of accident, it is not necessary to smooth or polish any other part of the drawing. The colours used on paper are precisely the same as those used on ivory; in painting white drapery it is desirable to use white in the lights, as it gives texture. CONCLUSION. 43 CONCLUSION. In concluding this treatise, I would impress on my learners the necessity of practising drawing from the “antique ” and life as much as possible, also to close and unremitting study of the works of our great masters, and nowhere can this study he likely to produce better results than when it is undertaken amongst those superb miniatures to be seen in the Wallace Collection at Hertford House. Let the learner ever remember painting a portrait is not, as some may imagine, merely an imitative art ; no, it is strictly reflective, and requires much skill for the arrangement of the subject matter, for the design- drawing and colour must be attended to not singly, but as a whole. Those who paint portraits must, too, remember that to successfully obtain a vivid, graphic descrip- tion of a face from life, their own ideas of what their sitters ought to be like is not what they must paint. No two faces are alike, and it is necessary for the ultimate success of the work that each face must be separately committed to memory ; so that each special point — and the most uninteresting face has in it some special point of interest of its own — may be brought out. Kemember, all people have not got the same degree of brilliance in the eyes, 44 CONCLUSION. regular noses, perfect mouths, and snowy plump necks. Artists must forget themselves entirely in their works and strive to enter into the very minds and individuality of their sitters, by the very closest observation outside, when it is possible, as well as in the studio. It is only possible while forgetting himself, and entering into, as it were, the inner feelings of his sitter, that an artist can obtain that commendation which every true one works for, i.e ., “ What a perfect likeness ! You have made her appear as if she were going to speak ! ” W. H. Smith & Son, Printers, 12 Norfolk Street, Strand, W.C. By Special Appointment to Tiieir Majesties The King and Queen. WINSOR& NEWTON’S CATALOGUE Colours and Materials OIL AND WATER COLOUR PAINTING, Pencil, Chalk, and Architectural Drawing, &c. WINSOR & NEWTON, LIMITED, ^Manufacturing jtfrtists Colourmen, 37 > 38, 39, & 40, Rathbone Place, London, W. NEW YORK BRANCH : 88, FULTON STREET. Index, ACADEMY Boards PAGE 35 Adolfi Medium 26 Albanine ... 12 “ BLACK AND WHITE ” Boards Blocks of : — 45 Prepared Paper for Sketching in Oil 37 Whatman and other Papers ... 41 to 43 Books on Art Boxes, fitted with : — Back of Cover Drawing Pencils 47 Water Colours 8 to 11 Oil Colours and Materials Boxes, Empty, for : — ... 21 to 25 Moist Water Colours 10 & 11 Oil Colours and Materials ... 21 to 25 Boxes of Pastel and other Crayons . ... 48 Bristol Boards 45 Brush Cases 60 Brush Washers 55 Brushes for Oil and Water Colour Painting ... 28 to 32 CANVAS Boards 36 Canvas Prepared 33 & 34 Canvases on Wedged Stretchers 34 Cartridge and Cartoon Papers 40 Chalk Boxes 49 Chalks, Various ... 48 & 49 Chinese White 12 Crayons, Various ... 48 & 49 Creta Levis Pencils 48 DIPPERS 55 Draughtsmen’s Colours 14 Drawing Blocks and Books ... 41 to 44 Drawing Boards, Deal and other Woods 56 Drawing Boards, Whatman’s and other 45 Drawing Cards, Gilt Bevelled Edges ... 44 Drawing Inks, Waterproof 13 Drawing Papers ... 38 to 40 Drawing Pencils ... 47 & 48 EASELS ... 51 to 53 Engineers’ Drawing Boards 56 Erasers and Scrapers 55 GENERAL Drawing Ink ... ... ... 12 Gilt Bevelled -edge Cards ... 44 Gold Ink ... 12 Graphite, Liquid ... 12 Gum Water ... .. 12 Gunter’s Skktgher’s Hold -all ... ... n 4 WINSOR - ... •- 57 to 59 Powder Colours (Levigated) 14 Process Black - 12 Publications - 61 37, 38, 39, & £0, RatKbone Place, London, W. “RAFFAELLI” Solid Oil Colours Rubber... PAGE 20 50 SCRAPERS and Erasers ... ••• 55 SlCCATIF COURTRAY 26 Siccatif de Harlem 26 Silver Ink 12 Size (Liquid) 26 Sketch Books 42 & 43 Sketching Pencils , 47 Soehnee Varnish 26 Solid Oil Colours 20 Stools and Seats 57 Studies, Various 61 to 63 Studio Tubes of Oil Colours ... ... 19 Stumping Chalk (Velours a Sauce) 48 Stumping Palettes 48 Stumps, Leather and Paper ••• 50 Sundries 64 TABLETS for Oil Colour Sketching 36 Terra Cotta Size 26 Tin Ware Sundries 55 Tortillons 50 Tracing and Transfer Papers 40 Triple Deal Drawing Boards ... ... ... • • ••• 56 Tubes of : — Oil Colours ' 15 to 20 Oil Colours, &c. , in Boxes ... ... ... ■ 21 to 25 Water Colours 6&7 “Turner” Water Colour Sketching Boxes ... ... ... 11 UMBRELLAS 57 VARNISHES and Oils Vellum, Prepared ... Vouga’s Studies 26 & 27 ... 60 ... 62 WATER Bottles and Cups Water Colour Cards, Gilt Bevelled Edges Water Colour Sketching Boards, Whatman’s Water Colours Waterproof Drawing Inks Whatman’s Boards White Wood Panels, Unprepared Winton Canvas Winton Shaded Art Panels Wooden Oil Colour Boxes, Fitted and Empty ... 64 ... 44 ... 45 & 12 to 14 ... 13 ... 45 ... 35 ... 33 ... 36 24 & 25 WINSOR & NEWTON’S Prepared Water Colours, IN WHOLE AND HALF CAKES, WHOLE AND HALF PANS, AND WHOLE AND HALF TUBES. Whole Cakes, Pans, or Tubes, 1 /- each. Half Cakes, Pans or Tubes, 6d. each. Antwerp Blue Bistre Blue Black * British Ink * Bronze Brown Ochre Brown Pink Burnt Sienna Burnt Umber Charcoal Gray Chinese White Chrome Lemon Chrome Yellow Chrome Deep Chrome Orange Cologne Earth ^Constant White § Davy’s Gray Dragons’ Blood Emerald Green Flake White Green, No. 1 Honker’s Green, No. 2 Indian Red Indigo Gamboge Hookers Italian Pink Ivory Black JKings’ Yellow Lamp Black Light Red fMauve Naples Yellow Neutral Tint New Blue Olive Green Payne’s Gray Permanent Blue Prussian Blue Prussian Green Raw Sienna §Raw Sienna, pale Raw Umber Roman Ochre Sap Green Terre Verte Vandyke Brown Venetian Red V ermilion Yellow Lake Yellow Ochre * Prepared only in Cakes and Half Cakes. + Not prepared in Cakes and Half Cakes, t Not prepared in Tubes and Half Tubes. § Prepared only in Tubes and Half Tubes 37, 38, 39, 6c If.0, Hathbone Place, London, W. 7 Whole Cakes, Pans, or Tubes, 1 /6 each. Half Cakes, Pans, or Tubes, 9d. each. •(•Alizarin Carmine Mars Yellow Alizarin Crimson Neutral Orange Alizarin Green Orange Vermilion Alizarin Orange Purple Lake Alizarin Scarlet Roman Sepia Alizarin Yellow Rose Madder (Alizarin) * Black Lead Rubens’ Madder Brown Madder Ruby Madder (Alizarin) Carmine Lake Scarlet Lake Cerulean Blue Scarlet Madder (Alizarin Crimson Lake Scarlet Vermilion Indian Yellow Sepia Leitch’s Blue (Cyanine Blue) Warm Sepia Whole Cakes, Pans, or Tubes, 2/- each. Half Cakes, Pans, or Tubes, 1/- each. Cadmium Lemon Lemon Yellow Cadmium Yellow, Extra Pale Mars Orange Cadmium Yellow, Pale Mineral Violet Cadmium Yellow Orient Yellow Cadmium Yellow, Middle Oxide of Chromium Cadmium Orange fOxide of Chromium Cobalt Blue Transparent Cobalt Green Permanent Mauve Cobalt Violet Permanent Violet fEmerald Oxide of Chromium Pure Scarlet French Blue (French Ultramarine) fUltramarine Ash, Gray Indian Purple Violet Carmine Intense Blue Viridian (Veronese Green) Whole Cakes, Pans, or Tubes, 31- each. Half Cakes, Pans, or Tubes, 1/6 each. Aureolin New Olive Green Aurora Yellow Pink Madder Burnt Carmine Primrose Aureolin Carmine Purple Madder Cobalt Yellow Rose Dore Field’s Orange Vermilion Rose Madder Gallstone fRose Madder (Pink Shade Madder Carmine Scarlet Madder Madder Lake X Yellow Carmine + _ This colour is sometimes sold under the name of Yellow Madder. t. Whole Cakes, Pans , or Tubes, 5/~ each. Half Cakes. Pans, or Tubes, 2/6 each. Smalt | Ultramarine Ash, Blue Whole Cakes, 21/-; Half Cakes, 10/6; Quarter Cakes, 5/6 each Genuine Ultramarine. * — Prepared only in Cakes and Half Cakes. t— Net Prepared in Cakes and Half Cakes. 8 WINSOB cfc NEWTON, Limited, WINSOR & NEWTON’S Polished Mahogany Boxes, FITTED WITH; WHOLE AND HALF CAKE WATER COLOURS. “Sliding Lid” Mahogany Boxes. Whole Cake Half Cake Colours. Colours. £ s. d. £ s. d. Box containing 6 Colours with Brushes 0 6 0 0 4 0 Ditto 12 ditto 0 12 0 0 6 6 Ditto 18 ditto 0 18 0 0 9 6 Ditto 24 ditto 1 4 0 0 12 6 “ Lock ” Mahogany Boxes. Box containing 12 Colours, with Brushes and £ s. d. £ s. d. other fittings ... 0 15 0 0 9 0 Ditto 18 ditto 1 1 0 0 12 0 Ditto 24 ditto 1 10 0 0 18 0 “ Lock and Drawer ” Mahogany Boxes. Box containing 12 Colours, with Brushes and other fittings ... £ s. d. £ s. d. 0 18 0 0 12 0 Ditto 18 ditto 1 5 0 0 15 0 Ditto 24 ditto 1 15 0 1 1 0 “ Complete ” Mahogany Boxes. Box containing 12 Colours, with Brushes and other fittings £ s. d. £ s. d. 1 1 0 0 14 0 Ditto 18 ditto ... 1 11 6 0 18 0 Ditto 24 ditto 2 2 0 1 5 0 “ Caddy Lid ” Mahogany Boxes. Box containing 12 Colours, with Brushes and superior fittings £ s. d. £ s. d. 1 11 6 1 0 0 Ditto 18 ditto 2 2 0 1 5 0 Ditto 24 ditto 3 3 0 1 11 6 “ Superior Caddy Lid ” Polished Spanish Mahogany Boxes. 12 Cake, £2 12s. 6 d. ; 18 Cake, £3 3s. : 24 Cake, £4 14s. 6 d. “ Handsome ” Caddy Lid and “ Extra Handsome ” Polished Spanish Mahogany Boxes. £3 13s. 6d. to £21. 37, 38, 39, & Ifi , Rathbone Place , London , W. 9 WINSOR & NEWTON’S 66 Patent Spring ” Japanned Tin Boxes, FITTED WITH MOIST WATER COLOURS IN CHINA PANS. The pans of colour are fastened by the employment of a V spring in each partition of the Box (which method was secured to Messrs. Winsor & Newton, Limited, under Letters Patent in Great Britain, the principal Kingdoms in Europe, and in the United States of America) ; they are thus held firmly, and the long-felt inconvenience of cementing the china pans to the box, and of removing them when empty is avoided. The improvement is a valuable one to Artists, as any colours in a box can be at once changed to suit their requirements, and the pans can be moved from one position to another at pleasure. 10 WIN Son cfc NEWTON , Limited , WINSOR & NEWTON’S u Patent Spring ” Japanned Tin Boxes. With or without MOIST WATER COLOURS, IN WHOLE PANS. 3 Whole Pan Box 4 „ „ 6 ,, ,, ,, 8 „ „ „ 10 ,, ,, ,, 12 „ „ „ 14 „ „ „ 16 „ „ „ 18 „ „ „ 20 „ „ „ 24 „ „ „ With Colours- £ s. d. 0 6 6 0 8 3 0 10 3 0 13 6 0 16 0 0 18 6 1 1 9 1 7 0 1 10 6 1 13 0 2 2 0 Withou Colours. £ s. d- 0 3 0 0 3 6 0 3 9 0 4 0 0 5 0 0 5 3 0 5 6 0 6 0 0 6 6 0 6 9 0 7 6 IN HALF PANS. 6 Half Pan Box 8 55 10 ,5 55 55 l2 5 5 55 55 ]4 ,, ,5 55 l6 55 55 55 l8 55 55 55 20 55 55 55 2 4 5 5 5 5 5 5 With Colours. £ s. d. 0 6 9 0 8 6 0 10 0 0 11 9 0 13 0 0 15 0 0 17 6 1 0 0 1 4 0 Without Colours. £ s. d. 0 3 6 0 3 9 0 4 6 0 '5 0 0 5 3 0 5 6 0 6 0 0 6 6 0 7 0 37, 33, 39, ds 40, Pathbone Place, London , W. n The “ Turner ” Water Colour Sketching Boxes. These Boxes are intended primarily for outdoor sketching, and have been designed in such a way that, when fitted, they contain all the colours and materials necessary for outdoor work. The lid contains a Sketch Block of Whatman’s Thick Drawing Paper, securely held in position by a spring, and is so constructed as to allow of the Block being reversed when not in use. No. 1.— Japanned Tin Box, by 5 in., containing 10 each. Half Pans of Moist Water Colours, a 7 by 5 Block s. d. of Whatman’s Thick Paper, a Japanned Tin Water Bottle and Cup, Brush Holder, and a piece of Artist’s Sponge I 4 6' No. 2.— Japanned Tin Box, 9£ by 5i in., containing 16 Half Pans of Moist Water Colours, a 9 by 5| Block of Whatman’s Thick Paper, a Japanned Tin Water Bottle and Cup, Brush Holder, and a piece of Artist’s Sponge ... ... 22 6 No. 3— Japanned Tin Box, 10i by 7 in., containing 6 Whole Pans and 12 Half Pans of Moist Water Colours, a 10 by 7 Block of Whatman’s Thick Paper, a Japanned Tin Water Bottle and Cup, Brush Holder, and a piece of Artist’s Sponge 30 0 The above Boxes, with Water Bottle, Cup and Brush Holder only. No. 1 ... ... ... No. 2 No. 3 8 0 11 0 13 6 Gunter’s Sketcher’s Hold-All. {REGISTERED.) This case of Brown Waterproof Canvas, designed by Lt.-Col. Gunter, contains in a compact compass all requisite materials for Water Colour Sketching. It can be readily strapped to the Easel, Stool or Cycle, or carried in the hand, without inconvenience ; whilst its form affords complete waterproof protection to the contents. The case contains a 16 Half Pan Japanned Tin Box of Winsok & Newton’s Moist Water Colours, a Tube of Chinese White, a Water Bottle and Cups, Drawing Pencils, Knife, Sponge and Rubber, and a good selection of Sable and other Brushes. Size, closed, 9 inches by 5 y 2 inches. .«?. d. Fitted complete ^ ® The case only b u 12 WINSOR & NEWTON, Limited, WINSOR & NEWTON’S Liquid Water Colours and Mediums. IN SIXPENNY AND SHILLING BOTTLES. ' Shilling Bottle (Half Scale). Asphaltum Carmine Crimson Lake Gold Ink GENERAL DRAWING INK Indelible Brown Ink INDIAN INK Lamp Black Ox Gall, Colourless Prout’s Brown Prussian Blue Sepia Silver Ink Vermilion C Modern Pigments, for use in Black and White Albanine J drawings intended for process reproduction. Process Black 1 In special wide-mouth Bottles, large size Is. ; small l size 6d. CHINESE WHITE. — Small Bottles or Tubes, 6d. each. Large Bottles, Pots, or Tubes, Is. each. Extra Large Bottles, Pots, or Tubes, 2s. each. Liquid Graphite. — Large Bottles, 6d. Ox Gall (in paste form). — Large Pots, Is. Small Pots, 6d. Artist’s Gum Water. — Large Bottles, Is. Small Bottles, 6d. 37, 38, 39, & 4-0, Rathbone Place, London, W. 13 WINSOR & NEWTON’S Waterproof DRAWING INKS. FOR ARCHITECTS , DESIGNERS , drc. Size of Small Bottles. Size of 1 oz. Bottles. BLACK (Indian Ink) and 24 Colours, viz. : — Brick Red, Brown, Burnt Sienna, Carmine, Emerald, Grass Green, Indigo, Lemon, Olive Green, Orange, Payne’s Gray, Pink, Plum, Prussian Blue, Purple, Scarlet, Sea Green, Sepia, Slate, Turquoise Ultramarine, Vermilion, Violet, and Yellow. s. d. Small Bottles 0 6 each. 1 oz. ,, 10,, 4 oz, ,, 3 6,, s. d . 8 oz. Bottles 6 0 each. 16 oz. „ 11 0 ,, Specimen Card of Tints on application. 14 WINSOR 3 9 9 ... ? ? 11 0 12 9 7 o 7 6 „ 4 13 6 16 0 9 0 10 6 „ 5 99 ••• 99 17 6 18 0 11 6 13 6 ,» 6 9 9 20 0 21 0 14 0 1 16 0 37, 38, 39, & 40 , Rathbone Place, London, W. 29 Brushes for Painting in Water Colours. BRUSHES IN NICKEL FERRULES. Nos. 0 & 1 Flat or Round... each o „ 3 „ 4 „ 5 „ 6 „ 7 Flat „ 8 „ 9 ,, ,, 7 Round „ 8 „ g Brown Red Brown Best Sable Sable Fitch Siberian Hair Hair Hair Hair s. d. s. d. s. d. s. d. each 0 10 0 5 0 4 0 3 1 o 0 6 0 4 0 4 „ 1 2 0 7 0 4 0 4 ,5 14 0 8 0 5 0 5 „ 1 8 0 10 0 5 0 5 „ 2 0 1 0 0 5 6 55 2 3 1 4 0 6 8 55 1 8 0 7 10 5 5 2 0 0 9 0 ,, 3 0 1 8 0 6 8 5 5 2 0 0 7 0 10 55 2 8 0 9 1 0 BEST CAMEL HAIR BRUSHES IN TIN FERRULES. No. 1 Flat or Round „ 2 >j 3 ,, H 4 ,, 55 ^ 55 55 6 ,, „ 7 „ 8 „ 9 „ 10 „ n „ 12 per doz. s. d. 1 2 1 3 1 4 1 6 1 2 2 3 3 4 9 5 6 6 0 WASH OR SKY BRUSHES IN NICKEL FERRULES. Dyed Sable Hair, large size . . . ... each Flat. s. d. 3 6 Bound. s. d. 4 0 Ditto small size . . ... )) 3 0 3 6 Best Siberian Hair, large size ... ... 1 3 1 3 Ditto small size ... ... yy 0 9 0 9 CM 8 „ „ 9 55 55 10 „ „ 11 „ „ 12 Each. s. d. Nos. 13, 14 15 16 17 18 Flat only Each. s. d. 0 9 1 0 1 2 1 4 1 6 1 9 STUDENTS’ HOG HAIR BRUSHES. Nickelled Tin Ferrules , Black Polished Handles. Sound, reliable Brushes of the approved shape, short and thin in hair with a square top. Each. Nos. s. d. 1 to 6, Flat only, all sizes 0 2 7 & 8 0 4 Nos. 9 & 10, Flat only... 11 & 12 ,, Each. s. d 0 0 i BROWN FITCH HAIR BRUSHES. Nickel Ferrules , 12-inch Natural Polished Cedar Handles. Improved shape, SHORT AND THIN IN THE HAIR, and with square points. Each. s. d. Nos. 1, 2, and 3, Flat only ... 0 3 4, 5, and 6 ,, ... 0 4 7 „ ... 0 5 8 „ ... 0 6 Nos. 9, Flat only 10 11 12 FINEST ROUND BADGER HAIR SOFTENERS With Red Polished Cedar Handles. Each. Each. Nos. s. d. Nos. s. d. Nos. 1 0 9 4 1 6 7 2 0 11 5 2 0 8 3 1 1 6 2 3 9 FLAT HOG HAIR VARNISHING BRUSHES. Nickel Ferrules , Natural Polished Cedar Handles. Made of the softest Hog Hair. Each. s. d. 0 7 0 8 0 9 0 10 Each. s. d. 3 0 4 0 4 6 inch wide 1* 2 Each. s. d. 1 2 1 9 2 3 2^ inches wide 3 Each. s. d. 2 9 3 6 inches wide Each. s. d. 4 0 4 6 -i oi r 37, 38, 39, 16 2 2 1 ..7 1 3 94 9 9 58 44 0 35 0 21 9 9 14 2 2 1 6 1 3 106 99 70 56 0 47 0 21 99 17 2 4 1 9 1 4 37, 38, 39, do If), Rathbone Place, London, W. 35 Academy Boards. BEST QUALITY. Thin. Each. Thick. Each. Inches. s. d. s. d. Academy Boards ... 24} by 18} .. 1 0 1 3 Half „ ... 18} „ 12} .. 0 6 0 8 Quarto ,, ... 12} „ 9} .. 0 3 0 4 Octavo ,, ... 9} „ 6 .. 0 1} 0 2 “ Rough Surfaced ” Academy Boards. These Boards are carefully abraded by hand, and offer an agreeable contrast to the smooth surface of the older kind. Ordinary Sizes. Panel Sizes.* Each. Each. Each. Inches. s. d. Inches. s. d. Inches. s. d. Whole Size, 24} by 18} Half „ 18} „ 12} 1 0 15 by 8 0 4 26 by 10 0 9 0 6 18 „ 8 0 6 30 „ 13 1 0 Quarto ,, 12} ,, 9} Octavo ,, 9} ,, 6 0 3 18} „ 13 0 8 37 „ 13 1 6 0 n 24 „ 12 0 9 Students’ Academy Boards. Ordinary Sizes. Each. Inches. s. d. Whole Size, 24} by 18} 0 8 Half „ 18$ „ 12} 0 4 Quarto „ 12} ,,9} 0 2 Octavo ,, 9} ,, 6 0 1 Panel Sizes.* Eacn. Each. Inches. s. d. Inches. .s. d. 15 by 8 0 3 26 by 10 0 8 18 „ 8 0 4 30 „ 13 0 10 18} „ 13 0 6 37 „ 13 1 3 24 „ 12 0 8 * These sizes correspond with those of Madame Youga’s and other panel studies. Millboards and Mahogany Panels. Prepared -for Painting in Oil Colours. Millboards, 44 sizes, 6 ins. by 5 ins. 6d. , to 30 ins. by 25 ins. 9/-. Mahogany Panels, 42 sizes, 8 ins. by 6 ins. 1/3, to 36 ins. by 28 ins. 37/-. White Wood Panels. Unprepared. Eighteen sizes, 8 ins. by 6 ins. 3d. , to 20 ins. by 12 ins. 1/-. 36 WINSOR & NEWTON , Limited , Oil Sketching Paper. In four different surfaces, prepared to imitate the textures of Plain, Single Primed, Roman, and Ticken Canvases. s. d. Prepared on Imperial Paper, 30 inches by 22 inches . . . per sheet 0 *9 Ditto, ditto, Extra Thick 30 ,, by 22 ,, ... , v 10 Oil Sketching Tablets. (Millboards covered with Prepared Oil Sketching Paper.) Size Each. Size Each. Size Each. in inches. s. d. in inches. s. d. in inches. s. d. 5* by 0 2 n* by 9 0 5 18 by 11| 0 8 7 5 0 2 12 „ 8 0 5 20 99 14 0 9 8 9 j 6 0 3 12 „ 9 0 5 24 12 1 0 9 99 H 0 3 14 „ 6f 0 5 28 9 * 12 1 0 10 9 9 7 0 3 14 „io 0 .6 30 9 9 13 1 6 10 99 8 0 4 16 „12 0 8 37 9 9 13 2 0 42 9 9 13| 2 3 Made in three surfaces — Plain, Single -primed, and Roman. Single - primed surface is sent unless otherwise ordered. The Winton Shaded Art Panels. FOR PAINTING IN OIL COLOURS. Prepared in Six Tints, viz. GREEN, ROSE, AZURE, BROWN, GREY, and OLIVE. Size Each. Size Each. in inches. s. d. in inches. s. d. 9 by 5| 0 6 18 by 10 1 6 10 „ 7 ... ... 0 8 20 „ 10 ... 1 6 12 „ 8 ... ... 1 0 20 „ 12 ... ... ... ... 1 9 14 „ 6f 1 0 20 „ 14 ... 1 9 14 ,, 10 1 3 24 „ 12 2 0 16 „ 8 1 3 28 „ 12 ... ... 2 6 30 by 13 inches, green, brow m, grey, and olive only 3 6 37 ,, 13 9 9 9 9 9 9 9 9 99 * * * ! 4 0 42 „ 13| 99 9 9 9 99 9 9 •** 5 0 Other sizes, up to 20 in. wide, are made to order at proportionate prices. The “ Winton” Art Panels are manufactured and prepared solely b} r Winsor and Newton, Ltd. The surface is carefully shaded by hand and affords an especially suitable ground for painting Flowers, Fruit, &c., or copying Madame Vouga’s Studies. Canvas Boards. Millboards covered with Artists’ Prepared Canvas. Best Quality, 20 sizes, 7 in. by 5 in., 7d., to 20 in. by 14 in., 3/- each 21 by 10| in., 3/2 ; 42 by 10| in., 6/6 each. Second Quality, 20 sizes, 7 in. by 5 in., 6d., to 20 in. by 14 in., 2/- each. 37 , 38, 39, 8c 40 , Rathbone Place, London, W. 37 Japanned Tin Plaques (Circular). With Rings at back. Prepared for Painting in Oil Colours. PLAIN.— Six Tints : Cream, Terra Cotta, Pale Blue, Pale Pink, Pale Green, and Black. Diameter. 6 inches 77 „ 8 i, 9 „ 10 ,, 11 12 ,, 13 „ 14 „ 16 „ , Pale Pink, Grey. Plain. Shaded. Each. Each. s. d. s. d. 0 8 — 0 10 — 1 0 1 2 I 2 I 4 1 3 1 6 1 5 1 9 1 6 2 0 2 0 2 6 2 6 2 9 3 6 4 0 Solid Blocks for Painting in Oil Colours. Made of Thick Inches. 16mo Imperial 7 by 5 Paper, 24 Surfaces. each Blocks only, s. d. 1 9 Half Bound and with Protective Frames. s. d. ... 3 9 8vo ,, 10 ,, 7 55 3 0 ... 6 3 4to Royal 11| „ 9 55 5 0 ... 9 0 6mo Imperial 14 „ 6f 5 5 4 6 ... 8 6 4to ,, 14 ,, 10 ,, 6 0 ... 10 6 Made of Extra Thick Paper. 18 Surfaces. Blocks Half Bound and with Protective 16mo Imperial Inches. 7 by 5 each only. s. d. 1 9 Frames. s. d. ... 3 9 8vo ,, 10 „ 7 3 0 ... 6 3 4to Royal llf„ 9 55 5 0 ... 9 0 6mo Imperial 14 „ 6f 5 5 4 6 ... 8 6 4to ,, 14 „10 5.5 6 0 ... 10 6 3mo ,, 18 „ 10 55 8 6 ... 16 o Half 20 „ 14 55 12 0 ... 21 0 These Blocks are made with Oil Sketching Paper of the four different surfaces described on Page 36. Single Primed Surface Blocks are sent unless .otherwise ordered. 38 WINSOR & NEWTON, Limited, DRAWING PAPERS. Messrs. Winsor & Newton, Limited, pay particular attention to this department, and keep constantly on hand a very large and varied Stock of Seasoned First-class Drawing Papers, comprising all kinds required, including the “ O.W.” Hand-made Drawing Paper recently introduced and stamped “ Guaranteed Pure Paper R.W.S.” WHATMAN’S DRAWING PAPER. Demy ... Medium Royal ... Imperial Dble. Elephant Antiquarian Weight to Ream. 25 lbs. 34 „ 44 „ 72 „ 133 „ 240 „ Per Sheet. Hotpressed and Not ... 59 59 (Hotpressed, Not, and) \ Rough > 24 40 WHATMAN’S “THICK" AND “EXTRA THICK” DRAWING PAPER. Weight to Ream Royal ... ... 60 lbs. Imperial ... 90 ,, „ 140 „ „ ... 300 „ Dble. Elephant 235 ,, * Artists’ Drawing Paper consists of Sheets carefully selected at the Mill. [nches. s. d. by 15 | 0 4 95 17f 0 n 55 in 0 3 U 22 0 5 26f 0 10 1 2 >> 301 4 0 *Artists Per Per Sheet. Sheet. s. d. s. d. 0 5 0 8 0 9 1 0 1 2 2 6 1 9 2 0 “O.W.” DRAWING PAPER. A Hand-made Paper , manufactured under the direction of the Royal Society of Painters in Water Colours. Imperial Weight to Ream. 72 lbs., Nos. 1 and 4 Surfaces Per Sheet. s. d. 0 5 ,, 90 „ ,, 4 Surface 0 8 ,, 140 „ „ 4 „ 10 Dble. Elephant 99 9 9 • * * 140 „ „ 4 „ 1 0 325 „ „ 40 „ 2 3 Antiquarian 240 „ „ 4 „ 9 0 37 , 33 , 39, & /f.0 , Rathbone Peace, London , W. 39 WINSOR & NEWTON’S f “IMITATION STEINBACH” DRAWING PAPER. Suitable for Drawing in Water Colours, Pastel Crayons, Pencil and Charcoal, and for general Black and White Work. Imperial, 30 by 22 1 in., 65 lbs. to ream 3/9 per quire. Continuous, 54 inches wide ... 6d. per yard. (Reduced prices for original rolls of 25, 50, and 100 yards.) HOLLINGWORTH’S “IMPROVED ’ 5 DRAWING PAPER. Demy Weight to Ream. 24 lbs., Hotpressed and Not, Inches. 20 by 15J ... Sheet s. d, 0 1 Medium ... 32 9 9 9 9 9 9 22 5 > 17f ... 0 Royal 42 5 5 9 9 9 9 24 „ 19 ... 0 n Imperial ... n Dble. Elephant ... 72 „ 30i„ 22| ... 0 3 90 „ 30i„ 22* ... 0 4 130 „ 40 „ 26f ... 0 6 BEST MACHINE-MADE TINTED CRAYON PAPERS. Weight to Ream. Imperial ... ... 90 lbs. Dble. Elephant ... 144 ,, 33 Tints Inches. 30 by 21| 40 „ 27 Per Sheet. s. d. 0 4 0 6 MICHALLET FRENCH HAND-MADE CRAYON PAPER. Royal >$ No. 1, White ( Nos. 2 to 12, various Tints Inches. 24 by 19 Per Quire. s. d ... 2 6 Pattern Books of Tinted Crayon and other Drawing Papers may be had on application. 40 WINSOR dh NEWTON , Limited , CARTRIDGE DEAWING PAPEE. Per Per SUPERFINE : Weight to Ream. Inches. Sheet. s. d. Quire. s. d. Students’ '. 60 lbs. 30 by 22 ... 0 2 3 0 Imperial (Hotpressed and Not) 78 „ 30 ,, 22 ... 0 3 5 3 FINE: Medium ... 30 lbs. 22 by 17 ... 0 1 1 3 Royal 48 „ 24 „ 19 ... 0 1 i 2 3 Thin Log 38 „ 26 „ 21 ... 0 1 2 0 Thick Log 48 „ 26 ,, 21 ... 0 H 2 3 Thin Engineers 70 „ 30 „ 22 ... 0 2 3 6 Thick Engineers 90 „ 30 „ 22 ... 0 4 6 Double Elephant 120 „ 40 „ 27 ... 0 5 6 GOOD: Royal School of Art . . . 40 lbs. 24 by 19 ... 0 1 1 3 Imperial School of Art 60 „ 30 „ 22 ... 0 1 2 0 Imperial White 70 „ 30 ,, 22 ... 0 H 2 3 CONTINUOUS CARTOON CAETEIDGE PAPEE. White Cartoon Paper, Thin ,, ,, ,, Medium „ „ „ Thin ,, ,, ,, Thick 99 33 33 33 99 33 33 3 ) Tinted Cartoon Paper 36 inches wide ... Per Yard. s. d. ... 0 4 45 „ ... 0 6 54 „ ... 0 7 30 „ ... 0 7 54 ... 1 2 60 ... 1 2 54 „ ... 0 10 (Three Tints — Buff, Stone, and French Grey). Transfer Papers. In Sheets 22^ by 17| inches. Black, White, Red, Yellow, Blue, and Black Lead, prepared on one or both sides. Prices from l|d. to 3d. per sheet ; 2/- to 5/- per quire. Tracing Papers. In Shefts, 9 varieties, 30 by 20 inches, and 40 by 30 inches, Prices l^d. to 5d. per sheet. Rolls of 21 yards, 27 varieties, 30, 31, 40, 43, 44, and 60 inches wide, 4/6 to 20/- per roll, PATTERNS ON APPLICATION. 41 37, 38, 39, & 40, Rathbone Place, London , W. Solid Drawing Blocks. Made of WHATMAN’S Drawing Paper. 32mo Imperial 16mo Royal 16mo Imperial 8vo Royal 16mo Dble. Elept. 8vo Imperial 4to Royal 8vo Dble. Elept. 6mo Imperial 4to Imperial 3mo Imperial Half Royal 4to Dble. Elept. Half Imperial * Series 2 1 * Series 3 * Series 3a * Series 4 20 Sheets. 24 Sheets. 32 Sheets. 32 Sheets. Inches. s. d. s. d. s. d. s. d. 5 by 34 each 1 2 0 9 1 0 0 9 5* ,, 4* 9 9 1 0 1 3 1 0 7 „ 5 2 0 1 6 1 8 1 3 9 ,t 5* 99 2 8 1 9 2 3 2 0 9 „ 6 9 9 3 0 — — 10 „ 7 5 9 3 3 2 6 3 0 2 3 HI „ 9 9 9 5 3 3 3 4 0 3 6 12 „ 9 99 5 6 — ■ — . 14 „ 6f 4 9 3 3 4 0 3 3 14 „ 10 9 9 6 6 4 9 6 0 4 6 18 ,, 10 9 9 9 0 6 9 8 3 — 18 „ 111 99 7 6 8 6 — 18 „ 12 99 11 0 — - — 20 ,, 14 99 12 6 1 10 0 12 6 — SOLID DRAWING- BLOCKS WITH COVERS & POCKETS. Made of WHATMAN’S Drawing Paper. Half-bound Covers. 32mo Imperial 16mo Royal 16mo Imperial 8vo Royal 16mo Dble. Elept. 8vo Imperial 4to Royal 8vo Dble. Elept. 6mo Imperial 4to Imperial 3mo Imperial Half Royal 4to Dble. Elept. Half Imperial Inches. * Series 2 20 Sheets. s. d. 5 by 3| each 2 0 5|„ 4* 99 — 7 „ 5 99 3 0 9 „ 5i 99 3 9 9 „• 6 99 4 0 10 „ 7 99 4 9 11* „ 9 99 7 6 12 „ 9 99 8 0 14 „ of 9 9 7 0 14 „ 10 99 9 0 18 „ 10 9 9 13 6 18 „ 111 99 — 18 „ 12 9 9 15 9 20 „ 14 9 9 18 0 * Series 3 * Series 3a 24 Sheets. 32 Sheets. s. d. s. d. 1 6 1 8 1 9 2 0 2 3 2 8 3 0 3 6 4 0 4 6 5 3 6 0 5 3 6 0 6 9 8 0 11 0 12 6 12 0 13 0 16 0 18 6 Brown Holland Covers. * Series 4 32 Sheets. s. d. 1 6 1 9 2 2 2 9 3 6 5 3 5 0 6 6 * Series 2 is made of EXTRA THICK Paper ; Series 3 Sf 3a of THICK Paper; Series 4 of IMPERIAL 7 2 lbs. Paper. 42 WINSOR dk NEWTON , Limited, SOLID BLOCKS. Series 8. FOB WATER COLOUR SKETCHING. Made of Machine-made Paper, Not Surface. 20 Sheets. 9| inches by 6 ... each 6d. 12 inches by 94 ... each Is. SOLID DRAWING BLOCKS. Series 9 and 11. 32mo Imperial 16mo Imperial 8vo Royal 8vo Imperial 4to Royal 6mo Imperial 4to Imperial Inches. 5 by 3£ 7 „ 5" 9 „ 5| 10 „ 7 HI „ 9 14 „ 6f 14 „ 10 * Series 9 * Series 11 24 Sheets. 32 Sheets s. d. s. d. each — 0 6 „ 0 6 0 8 „ 0 9 0 9 „ i o 1 0 „ 1 6 1 6 5 ? 1 9 „ 2 0 2 0 * Series 9 is made of ENGINEER'' S Cartridge Paper, and Series 11 of Thick IMITATION STEINBAGH Paper. SCHOOL SOLID DRAWING BLOCKS. Series 10. Made of Good White Cartridge Paper. 20 Sheets. 10 inches by 7 ... each 6d. 14 inches by 10 ... each Is. SCHOOL SKETCH BOOKS. Series 29. (12 inches by 9|). With Cloth Backs and Stiff Marble Paper Sides, containing s. d. 20 leaves of Cartridge Drawing Paper each 1 0 SKETCH BOOKS. Series 30 and 35. Bound in Brown Holland, with Elastic Band. Inches. * Series 30 s. d. * Series 35 s. d. 5 by 34, 40 leaves each 0 6 40 leaves ... . . . each 0 6 7 „ 44, 40 „ 1 0 +40 „ ... - „ o 9 9 „ 54, 32 „ 1 3 40 „ ... ,. 1 0 10 „ 7, 32 „ 1 6 40 „ ... ... „ 1 3 H| „ 9, 32 „ 2 0 14| „ 10, 32 „ 2 6 * Series 30 is made of GOOD CARTRIDGE Drawing Paper, and Series 35 of Thick IMITATION STEINBAGH Paper. t Measures 7 by 5 inches. SKETCHERS’ NOTE BOOKS. Series 33. Made of Good White Paper, suitable for Rapid Pencil Sketches, Brown Holland Covers. ' Inches. s. d. No. 1 ... 54 by 4, 80 leaves in each Book ... ... ... each 0 9 „ 2 ... 84 „ 54 „ 1 3 „ 3 ... 11 „ 84 2 0 43 37 , 38, 39, 6a 40, Rathbone Place , London, W. SOLID BLOCKED SKETCH BOOKS. Made as Sketch Books, but with the three outer edges fastened as ordinary Solid Blocks. Made of WHA T MAN'S Drawing Paper. 32mo Imperial 24mo , , 16mo ,, 8vo Royal 12mo Imperial 8 vo ,, 4to Royal 4to Imperial * Series 21 6a 21a are made of EXTRA THICK Paper ; Series 22 6a 22a of THICK PAPER, and Series 23 of IMPERIAL 72-lbs. Paper. Half-bound Leather Backs, cloth sides. Brown Holland Covers. ♦Series 21. ♦Series 22. ♦Series 21a. ♦Series 22a. ♦Series 23. 20 Leaves. 32 Leaves. 20 Leaves. 32 Leaves. 24 Leaves, s. d. s. d. s. d. s. d. s. d. each — 1 6 — 1 3 1 0 9 9 2 0 — 1 8 1 3 ,,2 6 2 6 2 3 2 3 1 6 ,,3 6 3 3 3 0 3 0 2 0 9 9 3 3 — 3 0 2 0 ,,4 3 4 3 3 9 3 9 2 6 9 9 6 0 — 5 3 3 6 „ 7 6 7 6 6 9 6 9 5 0 SKETCH BOOKS. Made of WHATMAN’S or TINTED CRAYON Papers, each containing 30 leaves. 32mo Imperial 24mo ,, Pocket Size 16mo Imperial 8vo Royal 12mo Imperial 8 vo „ 4to Royal 4to Imperial Inches. 5 by 3£ 7 7 ll£„ 9 14 £ „ 10 Half-bound Leather Brown ] Backs, cloth sides. Cov ♦Series 24 ♦Series 25. ♦Series 26. s. d. s. d. s. d. each 1 0 0 11 0 9 „ 1 3 1 2 1 0 „ 1 6 1 4 1 3 „ 1 6 1 4 1 3 „ 2 0 — 1 6 ,,2 6 2 3 1 9 ,,3 0 2 9 2 3 ,,3 9 — 3 0 „ 5 3 4 9 4 6 ♦Series 27. s. d. 0 8 1 6 2 0 4 0 * Series 24 and 26 are made of WHATMANS Paper ; Series 25 and 27 of TINTED CRA YON Paper. BLACK & WHITE SKETCH BOOKS. Series 34. Made of EXTRA THIN BANK Paper , suitable for Pencil, Pen i or Colour Drawings. Each Book contains 94 Leaves, perforated on interior edge. Inches. s. d. \ Inches. s. d. No. 1, 3^ by 3 ... each 0 5 No. 4, 8 by 5 ... each 1 0 „ 2, 5 „ 3| ... „ 0 8 „ 5, 10 „ 8 ... „ 1 6 .» 3, 7i „ 4£ ... „ 0 10 os Oi On 44 WINSOR dt NEWTON , Limited , SCHOOL DRAWING ROOKS. Made of BEST CARTRIDGE Drawing Paper. With Illustrated Tinted Paper Covers. 20 Leaves in Each Book. 8vo Royal 8vo Imperial 4to Royal 4to Imperial Inches. 9 by 5{ 10 „ 7 14 „ 9 IU „ 10 each Interleaved with Tissue. s. d. 0 7 0 10 11 1 8 STUDENTS’ DRAWING BOOKS. Made of SUPERIOR CARTRIDGE Paper. Tinted Paper Covers. NEW SERIES. Nos. 11 Inches. 9 by 5^ 8 leaves each s. 0 d. 1 12 10 „ 7 12 „ 0 2 13 14 „ 9 ... 16 „ 0 3 14 14 „ 10 ... 16 „ ) > 0 4 15 I4f „ 10 14 „ 10 ... 24 „ 0 6 16 ••• 40 „ 5 ? 0 9 17 14 » 10 12 ,, interleaved tissue 0 4 18 14 „ 10 ... 20 „ rj 0 6 19 14£ „ 10 ... 30 „ 0 9 In ordering it is only necessary to give the Number prefixed to each size. GILT BEVELLED EDGE CARDS. Inches. 4 by 3 In Boxes of 50. j Imitation Whatman’s j Assorted Canvas Surface Surface. Tints & Surfaces, for Oil Painting. s. d. | s. d. s. d. ... per box 3 0 3 0 ! 4 0 4 0 4 0 5 0 • •• 4 6 4 6 6 0 ... 5 6 5 6 7 0 The Above are aJ so put up in boxes , containing an assortment of sizes at Is. each. 45 37, 38, 39, & Jf.0, Rathbone Place , London, W. WATER COLOUR SKETCHING BOARDS. Mounting Boards covered with Whatman’s Paper on One Side. Hotpressed, Not, and Rough Surfaces. 16mo Imperial ... Inches. . 7 by 4f Each. s. d. 0 1 4to Imperial . . 8vo Royal 9 * » 0 4 Half Royal . . 6mo Royal 14 „ 6 0 2 Half Imperial 8vo Imperial . . . m „ 7 ? 0 2* Royal 4to Royal 14 „ 9* 0 3 Imperial 6mo Imperial ... 141 „ 7 0 3 Each Inches. s. d. 14* by 10§ 0 5 181 „ Ilf 0 6 2l| „ 14* 0 9 23 „ 181 1 0 29 „ 21} 1 6 Also covered with Whatman’s “ Special Surface” Drawing Paper for Black and White Drawing. Prices same as above. “BLACK AND WHITE’’ BOARDS. Made in one thickness only of Paper specially selected and manufactured for this purpose. Suitable for either Pen, Wash, or Colour. Inches. Per packet of 6 Boards. s. d. Inches. Per packet of 6 Boards. s. d . li by 5} 10* „ 7} 0 6 No. 4 ... 14* by 10^ 1 9 1 0 „ 5 ... 18* ,, Ilf 2 3 Ilf „ 9* 1 3 >» 6 ... 23j ,, 18£ 4 0 BRISTOL BOARDS. Foolscap Demy Medium Royal Imperial BEST QUALITY. 2 sheet. 3 sheet. 4 sheet. 6 sheet. s. d. s. d. s. d. s. d. 151 inches by 12A each 0 2 0 3 0 4 0 6 18 * „ 14 16f ,, 0 3 0 5 0 6 0 9 21 >5 0 4 0 6 0 8 1 0 22£ „ 28^ 18 0 6 0 8 1 0 1 4 21 0 10 1 3 1 8 2 6 CUT OUT MOUNTS, &c. Messrs. WINSOR & NEWTON, Limited, pay particular attention to Cut-out Mounts; they also undertake to mount Drawings, &c., intrusted to them, with care and despatch. 46 WINSOR & NEWTON, Limited, MOUNTING BOARDS. White or Tinted (15 Tints). Series 1-EXTEA SUPERFINE. Half Imperial 21| inches by 14J each Royal ... 24 ,, 19 ,, Imperial ... 29 ,, 21£ ,, Atlas ... 33| „ 26 „ Dble. Elephant 39 „ 26 „ 3 sheet, s d. 0 3 0 4 0 6 4 sheet. s.. d. 0 4 0 6 0 8 1 4 1 6 6 sheet. s. d. 0 6 0 8 1 0 2 0 2 3 8 sheet, s. d 1 4 2 8 3 2 Series 2-LONDON. Half Imperial ... 214 inches by 14^ 4 sheet. s. d. each 0 3 6 sheet. s. d. 0 4 8 sheet s. d. 0 5 Royal ... 24 19 „ 0 4 0 5 0 7 Imperial ... 29 ' 21i „ 0 5 0 7 0 9 Atlas ... 334 26 5 ? 1 0 1 3 Dble. Elephant ... 39 26 ) 5 1 2 1 6 Dble. Imperial ... 43 29 5 > 1 6 1 9 * Leviathan ... ... 43 34 55 3 0 3 9 *Antiquarian ... 53 >5 35 » — 1 7 0 9 0 Half Imperial Royal Imperial Series 3— FINE, 4 sheet. s. d. ... 21^ inches by 15^ each 0 2 ... 24 „ 19 „ 0 3 ... 31 „ 21* „ 0 4 6 sheet. s. d. 0 3 0 4 0 6 8 sheet. s. d. 0 4 0 5 0 8 Series 4-SCHOOL. Royal ... 24 inches by 19, Medium Thick ... 24 „ 19, Thick Imperial ... 31 „ 21, Medium Thick >5 ... 31 „ 21, Thick Ordinary. s. d. each 0 2 „ 0 3 „ 0 3 „ 0 4 Best. s. d. 0 2 £ 0 0 3 * 0 5 * Not made in tints, 55, 56, 59, 62, 65, 66, 67, and 69. Patterns of Tints may be had on application. 37, 38, 39, ds Ifi, Rathbone Place, London, W. 47 WINSOR & NEWTON’S Nonpariel Drawing Pencils. HEXAGON ORANGE-POLISHED CEDAR, 4d. each. These are a new variety of Drawing Pencils made from carefully selected British Graphite. They may be used with confidence for all Drawings in which a high-class Drawing Pencil — reliable for smoothness in working and evenness of colour — is a sine qua non. Nonpariel Drawing Pencils are manufactured in twelve degrees viz.: HHHHHH, HHHHH, HHHH, HHH, HH, H, F, HB, B, BB, BBB, and BBBB, and stamped in gold— “ Nonpariel Drawing Pencil, Winsor & Newton, Ltd.” WINSOR & NEWTON’S Drawing Pencils. PENNY Pencils, of good quality, for Schools and ordinary use, Round and Hexagon. TWOPENNY Pencils, Round and Hexagon, strongly recommended for their richness of colour, and variety and evenness of tint. SIXPENNY Cumberland Pencils, made expressly for the use of Artists, with an extra thickness of lead. Is. Boxes, containing Six Drawing Pencils, Four Drawing Pins, India- Rubber, and a Stick each of Red, White and Black Crayon. 2s. Boxes, containing Six Best Engineer’s Hexagon Natural Polished Drawing Pencils of Hard and Suitable Degrees. WINSOR & NEWTON’S Sketching Pencils. Ever-pointed, four inches in length, with extra thick lead ... each, 6d. Re-fills for above, in boxes containing three Leads ... per box, 6(1. Coloured Pencils. Blue, Red, Green, and combined Blue and Red Pencils, in Coloured Polished Cedar. Best quality, 3d. ; Second quality, 2d. each. (jOMPASS PENCILS, plain Cedar, three sizes, two degrees, per dozen, 4-d. 48 WINSOR db NEWTON, Limited , Creta Levis Pencils, FORTY-EIGHT TINTS. In Coloured Polished Cedar ... ... ... ... ... 3d. each. Boxes containing from 6 to 48 Pencils, assorted tints, 2/- to 13/6 per box. Lefranc’s Soft Pastel Crayons. ASSORTED COLOURS. Notice.— These Crayons, being fragile, are liable to breakage in transit, and can only be sent at Purchaser’s risk. Their utility, however, is not impaired by their being in pieces. $. d. Box containing 26 Crayons 3 6 Box containing 100 Crayons 15 0 „ „ 40 4 6 „ „ 132 „ 20 0 „ ,, 56 ,, 6 6 r> » 156 ,, 23 3 „ „ 62 „ 9 6 „ „ 200 „ 33 0 Round Pointed Pastel Crayons. Best IN ROUND FANCY CARDBOARD BOXES. Quality. s. d. Box containing 6 assorted Crayons „ » 12 „ „ 18 24 5 5 9 9 59 99 5 9 5 9 30 36 48 0 9 1 3 1 9 2 3 2 9 3 3 Second Quality. 0 2 0 3 0 4 0 6 0 9 1 0 Crayons and Chalks. Conte Crayons, Black, Red, and White, Round and Square, in Boxes of 12 sticks ... ... ... ... each 6d. to 1/3. Ditto in Cedar ... ... ... ... ... ,, 2d. & 3d. Conte Stumping Chalk, in Tinfoil ... ... per stick, 3d., 4d., & 6d. ,, ,, ,, in Glass Bottles per bottle, 6d. Winsor & Newton’s Stumping Chalk, in Tinfoil, per doz., small 1/-, large 1/3. Lemoine’s White Crayons ... per box of 12, Square 6d., Round 9d. Chalk, Parmenter’s Round White ... per gross box, 9d. ,, ,, „ Enamelled ,, ,, 1/-. ,, Coloured Demonstration, assorted colours, per box of 12, 6d. CHARCOAL, in Bundles and in Boxes, various sizes and qualities. STUMPING PALETTES, Oval, lined Chamois Leather . ... each 1/?. 49 87, 38, 39, & IfO, Rathbone Place, London, W. Thumb=Hole Palette Chalk Box. FOR STUDENTS, SCHOOLS OF ART, &c. Size of Box when open, 10| by 6f inches. Ditto when closed, 6§ ,, 5} ,, The Lid of this Box is covered inside with Chamois Leather, which forms a Stumping Palette, and the thumb-hole is arranged to allow the Box being held on the hand as easily as an ordinary Palette. The Box contains — Four each Nos. 1, 2, and 3, Square Black Cont4 Crayons ; Two each Nos. 1 and 2 Lemoine’s Round White Crayons ; a Bottle of Stumping Chalk (Velours k Sauce) ; Two White Paper Stumps ; One No. 2 White Leather Stump ; Four each White and Grey Tortillons and a Portcrayon. The Box complete, weighs under 8 oz. Fitted complete, 3s. 6d. ; empty, 2s. The “Handy” Chalk Box. The sliding lid of the Box is lined with Chamois Leather, and fitted with a thumb-strap, forming a convenient Stumping Palette. The Box contains — Six Black and Four White Conte Crayons ; a Stick of Stumping Chalk ; Two White Paper Stumps ; Six Tortillons ; a Brass Portcrayon and a Drawing Pencil. Fitted complete, Is. 6d. ; empty, Is. 50 WINSOR d‘ NEWTON, Limited, Cont£ Leather Stumps. (WHITE OR CHAMOIS LEATHER.) No. 1 s. per dozen 1 d. 6 No. 5 per dozen s. 3 d. 3 ,, 2 ,, 1 9 „ 6 4 0 ., 3 2 0 „ 7 • • 5 5 4 6 „ 4 ,, 2 6 „ 8 5 5 5 6 Cont6 Paper Stumps. No. 1 . Grey. s. d. . . per dozen 0 4 White. *. d. 0 6 No. 5 Grey. s. d. ... per dozen 0 8 White. s. d. 0 11 2 ,, 0 5 0 7 ,, 6 .. 0 9 1 0 ” 3 ! ,,0 6 0 8 „ 7 . 0 11 1 3 „ 4 „ 0 6 0 9 „ 8 1 0 1 6 Cont£ Tortillons. Grey Paper White Paper ,, large size Tissue Paper Per Bundle. s. d. (in bundles of 1 dozen) 5 ? 5 5 5 5 55 5 5 55 o i* 0 2 0 3 0 3 India Rubber. Per lb. s. d. Best Para (Bottle) Rubber, cut to various sizes 12 0 Best White Soft Rubber, 6, 12, 18, 24, 36, and 72 pieces to lb. ... 5 6 Best Pink Soft Rubber, 6, 12, 18, and 24 pieces to lb 5 6 Best Stationer’s Rubber, 6, 12, 18, 24, 36, and 72 pieces to lb. ... 7 0 White School Rubber, 12, 16, 30, and 60 pieces to lb. ... ... 3 0 Artist’s Rubber, Extra Quality, 10, 15, 20, 30, and 60 pieces to lb. 4 6 Kneaded Rubber, 20 pieces to lb per piece 0 3 Pencil Pointed Rubber in sticks, each Id., 2d., 3d., and 4d. Nigrivorine Rubber, double pointed ... in sticks, each Id., 2d., and 3d. Ink and Pencil Erasers ... ... ... ... ... ... ...each 4d. Webster’s Chalk Erasers each 6d. 37, 38, 39, ds 40 , Rathbone Place, London, W. 51- Improved Studio Easels. Winsor & Newton’s Improved Studio Easel will carry canvases of any size to 9 feet 6 inches in height. The arrangement for projecting a canvas in a forward position is simple and effective ; the Easel has a screw winding-up move- ment that is managed with the utmost facility, and which raises with ease a framed picture or Canvas of considerable weight. Small Studio Easel, 5 feet high, which will carry a canvas 7 feet high. Stained Deal Polished Oak Middle Studio Easel, 6 feet high, which will carry a Canvas 8 feet high. Stained Deal Polished Oak Large Studio Easel, 7 feet high, which will carry a Canvas feet high. Stained Deal Polished Oak 12 12 0 15 15 0 13 13 17 17 Polished Oak Studio Easels. G- 74 feet high, with screw winding-up movement H Ditto ditto and forward movement £5 £8 0 0 0 0 52 WINSOR & NEWTON , Limited , Winsor and Newton’s Easels. SKETCHING EASELS. No. EACH. 1. Polished Stained Pine Sketching Easel with sliding £ s. d. adjustable Legs, and Brass Arm which holds sketch firmly at any angle, 6 feet high open, 41 inches when closed... 12 0 Also supplied in natural polished Pine at the same price. la. American White- Wood ^Sketching Easel, with sliding adjustable Legs, 6 feet high open, 41 inches closed ... Oil 0 Ditto ditto Polished ... 0 14 0 lb. The “Amateur” Bamboo Sketching Easel, 4 feet high, (the lightest Easel made) 05 6 2. Folding Sketching Easel, American White Wood, 4 feet 2 inches high ... 02 6 2a. Superior Folding Sketching Easel, 4 feet 2 inches high ... 0 4 0 2b. Ditto Ditto ditto, 4 ,, 2 ,, ,, with self-adjusting springs to fasten each leg 0 6 6 2c. Ditto ditto 5 feet high ditto 0 8 0 2d. Sketching Easel, with sliding adjustable legs, Brass fittings and rack, 5 feet high, 36 inches when closed 0 12 6 20. The “Walking-Stick” Sketching Easel, Polished Oak. Patent application No. 9096. The most compact Easel made, practical and efficient. It serves the purposes of a Walking Stick when closed, and an Easel when open. The wire pegs for holding the Canvas are contained, when not in use, in grooves cut on the inside of the back leg 05 6 23. *The “Radial” Sketching Easel, stained and polished Pine. Heath’s Patent. 4 feet 6 inches high open, 24 inches when closed 0 14 0 24. *Ditto ditto 6 feet high, 30 inches when closed 0 16 0 (No. 23 is suitable for carrying on the handle-bars of a bicycle, and was originally made for that purpose). Illustrated descriptive pamphlet of the “ Radial ” Easels post free on application . 37, 38, 39, & 40, Rathbone Place, London, W. 53 Winsor and Newton’s Easels. STANDING EASELS. Each. No. £ s. d 3a. Framed Rack Easel, Deal 5 feet 6 inches high 0 9 6 4. Closing Easel, Deal 6 feet high ' 0 7 0 4b. ,, u Spruce, inexpensive, for students Ditto 0 3 9 4c. 5) 55 55 4 feet 6 inches high 0 3 0 5. „ „ Mahogany 6 feet high 0 15 0 6. Framed Easel, Deal Ditto 0 10 6 7. ,, ,, Mahogany Ditto 1 1 0 10. Rack Easel, Mahogany, with tray . . . Ditto 1 17 6 11. ,, ,, ,, with brush box ... Ditto 2 10 0 12. ,, Academy Easel, Mahogany ,, Ditto 3 1 6 13. ,, Corbould ,, ,, ,, Ditto 3 15 0 14. 55 55 55 55 55 and Desk Ditto 4 15 0 15. Dwarf Rack Easel, Deal, 4 feet high, the rack heightening the Easel to 6 feet 6 inches 1 10 0 16. Ditto, Mahogany Ditto 2 5 0 17. Rack Easel, Beech, with forward movement, 6 feet high 1 15 0 18a. The “Radial” Students’ Easel, Deal.. 1 8 0 Illustrated descriptive pamphlet of the “ Radial application. Easels post free on TABLE EASELS No. 30. 31. 32. Deal, 18 inches high j> 21 ,, ,, „ 24 „ s. d. 1 3 PATENT HATHERLEY EASELS. A 15 inches high ... A A 15 ,, ,, for music 45 inches high 56 „ D Studio Easel, 6 feet high 86'. 6tZ. s. d. 6 6 7 6 54 WINSOE cfc NEWTON, Limited , Palettes. SPANISH MAHOGANY AND OTHER WOODS. No. 1 Shape. No. 2 Shape. No. 3 Shape. No. 4 Shape. No. 4 is only made in 18, 20, 22, and 24-inch Palettes. each Spanish Mahogany. Length 8 inches 9 10 11 12 13 14 15 16 17 18 20 22 24 12 Palettes s. d. 0 9 Folding each 1 1 1 1 2 2 2 9 8 0 3 6 4 0 5 3 6 0 6 9 3 0 Satin Wood. Length 8 inches 9 ,, 10 „ 11 „ 12 „ 13 ,, 14 ,, 15 ,, 16 „ 17 „ 18 „ 12 „ each Folding Palettes each 5 Mahogany. To Jit the following Oil- Colow Boxes. s. d. Pupil’s Pocket Tourist’s Compact Student’s Companion Portable Academy No. 1 Studio „ No. 2 Studio ,, No. 3 Studio „ Sketching Box (Folding Palette) Landscape Box (Walnut Palette) each 0 ,, 0 No. 1 Shape is sent unless otherwise ordered. 3 0 1 9 Mahl Sticks. Bamboo or White Wood, 46 inches ... Brass- jointed, White Wood, 36 inches in two pieces „ „ 36 „ three „ „ „ « » £our » . Polished Bamboo, 38 inches in two pieces ,, 38 ,, three ,, 44 „ four „ „ „ 56 „ five „ Telescopic Bamboo, extending to 36 inches Each s. d. 0 6 3 0 3 6 37 , 38, 39, & 40, Rathbone Place, London, W. 55 Palette Knives. WITH BEST STEEL BLADES. LENGTH OF BLADE. 3, 3}, & 4 in. f in. 5 in > 543 ,, balanced ... ,, 0 9 1 0 1 0 ,, 547 Ivory handle, balanced ... „ 2 0 2 o o 3 , , 554 Cocoa handle, Trowel shape ... ,, 1 8 1 9 2 0 Painting Knives. No. 1. No. 2. No. 3. No. 4. No. 5. s. d. s. d. s. d. s. d. s. d. Very Thin Blades ... each 2 6 2 0 2 0 1 3 2 0 Ivory Palette Knives.— No. 1, 4^ inches, 1/- ; No. 2, 6 inches, 1/3 ; No. 3, 7 inches, 1/6 ; No. 4, 8 inches, 2/- each. Steel and Tin Ware. Dippers, Plain Tin .. ,, Japanned Tin ... Brush Washers, Plain Tin Do. Japanned Oil Bottles, Screw Tops, Japanned Scrapers Erasers ... ... ... ••• ... ... 2d. to 1/4 each. 4d. to 1/6 ,, 1/3 & 2/- each, 1/9 & 2/3 „ 1/3 „ 5d. & 2/- ,, 1 /-& 1/2 „ 56 WINSOR cfc NEWTON , Limited , Drawing Boards. IN BEST SEASONED DEAL OR MAHOGANY. Clamped Panelled Framed Deal. Deal. Mahogany Inches. s. d. s. d. s. d. 4to Royal 104 by 8 each 1 0 1 6 5 0 4to Imperial ... 13 5 5 9 9 1 3 2 0 6 0 4to Imperial, full size 16 „ 1H 99 1 6 2 10 — Half Royal 17 „ 10* 99 1 8 2 10 8 0 Demy ... 18 » 134 „ 13* 1 9 3 3 — Half Imperial ... 19 9 9 1 10 3 6 8 8 Medium 20 „ 15* 99 2 6 4 0 — Half Imperial, full size 23 „ 16 9 9 2 8 4 9 — Royal 22 „ 17 2 8 4 9 12 8 Half Dble. Elephant . . . 24 „ 19 99 3 3 5 6 — Imperial 28 „ 19 9 9 4 0 6 3 16 6 Imperial, full size 31 „ 23 . 9 9 5 3 8 4 — Double Elephant 38 „ 24 9 9 8 6 12 6 — Double Elephant, full size 41 ,, 28 9 9 12 6 — The “Triple” Deal Drawing Boards. PROTECTED. Three layers of well-seasoned wood — the centre being placed transverse to the other two — are firmly glued together under great pressure. By this method the liability to warp and twist, which was too commbn a feature of boards made on the old principle, is reduced to a minimum. The satisfactory character of the “Triple” Drawing Boards is attested by the fact that they are fast superseding the ordinary Clamped Deal Boards. Sizes and prices the same as Clamped Deal Boards above. Engineers’ Drawing Boards. These Boards are made of the best picked Dry Pine, one end inlaid Ebony, with mahogany battens at back, having Brass Slots, which allow for the expansion and contraction of the wood. Engineers’ Boards are warranted not to get out of the square or to split. Inches. s. d. Half Imperial Half Dble. Elephant Imperial ... Dble. Elephant ... Antiquarian 23 by 16 28 „ 21 32 „ 23 41 „ 28 54 „ 32 eat h 8 0 ,, 10 6 ,, 12 6 ,, 20 0 „ 28 6 37, 38, 39, dk Jfi, Rathbone Place, London, W. 57 Sketching Portfolios, With Japanned Tin Frames to fasten the Paper down. Half-Bound, with Leather Outside Flap, and Linen Inside Flaps to hold loose Sketches, or Reserve of Paper. Inches outside Frame, s, d. 8vo Imperial - Hi by 8 . . . each 4 6 4to Royal ,, 5 3 6mo Imperial ... - 15i „ 7 ! ... ,, 60 4to Imperial - 16 „ 11 j 6 6 4to Double Elephant ... 20i „ 13* ... „ 10 6 3mo Imperial ... ... 22i „ 10i ... „ 10 6 Half Imperial ... ... 22i „ 151 ... „ 12 9 Sketching Stools and Seats. No. 1. Pocket Stool, loose seat, 18, 21, and 24 inches 1 a Ditto fixed seat, 21 inches 2. Ditto best make, fixed seat, 18, 21, and 24 inches 3. Square, loose seat, 21 inches 4. „ „ 24 „ 5. Square, fixed seat 17 ,, 6 . „ „ 21 „ 7. Gentlemen’s Seat and Easel Combined 8. Ditto best quality, leather seat 9. The Lannigan Stool, size when closed 19^ in. by 10^ by 2 10. Loose Leather Seat, 24 inches, extra strong 11. The “ Yeend King” Stool, extra strong, adjustable canvas seat 12. Sketching Bag Seat, a combination of a Sketching Bag and a good strong stool Each. s. d. 2 3 6 3 4 4 5 18 31 3 10 14 0 7 6 Sketching Umbrellas, No. 1. Covered Brown Holland or Grey Twill Silicia 2. Ditto with movable top joint 3. Improved make, with movable top joint, and sliding joint for alteration of height 4. Ditto suitable for ladies, nickel silver fittings . 6. Covered Brown Holland, movable top joint 7. French make... 1 13 1 13 0 16 0 18 58 WINSOR & NEWTON, Limited . Best Portfolios. Morocco Back, and Outside Flap with Gold Fillets, Best Cloth Sides and Inside Stiff Cloth Flaps. Half Demy ... 15* inches by 10.^ each s. 5 d. 6 4to Imperial 15 11 3 3 6 0 Music 16 ,, 11 ... )) 6 0 Half Medium 17 11* • • • 55 7 0 Half Royal 19 ,, 13 ,, 8 6 Demy 21 ,, 15j ... 55 10 0 Half Imperial ... 991 15j ... 5 > 10 6 Medium .. 22 ,, 17” ... > 3 10 6 Royal 25 19 3 3 13 6 Super Royal 27 ,, 20 35 15 0 Imperial ... 31 22 ... )) 21 0 Atlas 34 26 3 3 27 0 ' Colombier 36 ,, 24 ... 55 30 0 Double Elephant 40 „ 28 ... ,, 37 6 Best Bramah Locks Fitted to any of the Above as Illustrated, 6s. Extra. 37, 38, 39, & 40, Rathbone Place, London, W. 59 Portfolios. With or Without Stiff Inside Flaps. Half Demy 4to Imperial Music Half Medium Half Royal Demy Half Imperial Medium ... Royal Super Royal Imperial ... Atlas Columbier... Double Elephant... SUPERIOR. Roan Leather Back and Corners, Cloth Sides, & Silk Strings. Without Flaps. s. d. . . . each V • D ’ • * • 5 9 2 2 2 0 0 0 With Flaps. s. d. 2 8 2 8 2 9 „ 2 6 ,,3 0 ,,3 6 „ 4 0 ,,4 6 ,,5 6 ,,6 9 ,,9 6 ,. 15 0 ,, 15 0 ,, 20 0 3 3 4 0 5 0 5 6 6 0 7 6 10 0 12 0 18 0 18 0 24 0 SCHOOL of ART, Cloth Back and Corners, Marble Paper Sides. Without With. Flaps. Flaps. s. d. s. d. 1 0 1 0 1 0 1 3 1 6 1 8 1 10 2 0 2 6 2 9 3 6 6 0 6 0 9 0 1 6 1 6 1 6 1 8 2 0 2 6 2 9 3 0 3 6 4 0 5 0 8 6 8 6 12 0 The “ Useful ” Portfolios. WITH LOCK. Cloth Back and Corners, Leather Paper Sides. With or Without Inside Flaps. W ithout With - Flaps. Flaps. s. d. s. d. 4to Imperial .. 15 inches by 11 inches each 1 3 1 9 Music .. 16 „ 11 „ „ 1 6 2 0 Half Royal .. 19 ,, 13 ,, „ 2 0 2 6 Half Imperial .. 22£ „ 15k „ „ 2 3 3 0 Royal .. 25 „ 19 „ „ 3 0 3 9 Imperial ... .. 31 >, 22 „ „ 4 0 5 3 60 WINSOR tfc NEWTON , Limited , Pencil Cases. Cloth oe Leathee. ROUND. Cloth. Leather. Best Leather No. 1. 7 inches long by 1 inch diameter, each s. 0 d. 3 s. d. 0 7 s. d. 0 9 » 2. 7 „ li 0 5 0 9 1 0 3. 7 „ If 0 6 1 0 1 3 FLAT. To contain 3 Pencils each Cloth. s. d. 0 3 Leather s. d. 0 9 4 „ 5 J 0 4 0 10 >> 6 „ 0 5 1 0 Japanned Tin Brush Cases, With or Without Handles. oval. With removable metal division to protect the points of the Brushes. s. d. 8£ inches long... ... each 2 3 10 „ 2 6 14 „ ... 3 0 No. 1 ROUND. Without Division. No. 4. 13 in. long by l£ in. diameter ,, 5. 14 ,, 2 ,, each ,, 6. 14 „ 2J „ „ 8. 14 ,, 10. 8i inches long by 1? inches diameter, Round, with division in centre s. d. 1 6 1 9 2 0 1 0 1 0 Cloth Brush Cases (Round). No. 7. 8 inches long by l£ inches diameter. With removable metal division, each 1 0 ,, 9. Rolling Brush Case, 9 inches long, to hold 6 Brushes ,, 2 0 Best Prepared Vellum. Foe Illuminated Addeesses, Heealdic Painting, &c. Inches. 7 by 6 8 „ 6 9 „ 7 10 „ 7 10 „ 8 12 „ 9 14 ,, 10 14 ,, 12 15 ,, 10 Each. Each. s. d. Inches. s. d. Inches. s. d. 0 9 15 by 13 ... 3 6 26 by 22 11 6 1 0 16 „ 12 3 6 27 „ 22 ... 11 6 1 2 18 „ 14 ... 4 6 28 „ 24 ... 13 6 1 3 20 „ 15 5 3 30 „ 21 ... 14 6 1 6 22 „ 17 ... 6 9 30 „ 25 ... 15 0 2 0 24 „ 18 ... ... 8 0 32 „ 27 ... 18 0 2 3 25 „ 19 ... 9 0 36 „ 28 ... 24 0 2 8 25 „ 21 ... 10 0 36 „ 30 ... 27 0 2 8 Each. Prepared Ivories for Miniature Painting. Bleached oe Unbleached. Nos. 0 1 2 3 4 Inches. 2 by If 2 # „ 1 | 2 } „ 2 2} „ 2* 3 „ 2j Each. s. d. 0 10 1 1 1 4 2 0 2 9 Nos. 5 . Inches. H by 2f ff -8 3| „ 3 41 i . 31 Each. s. d. 3 0 4 0 4 6 5 0 Nos. 9 . 10 . 11 . 12 . Inches. 4| by 3| 5 „ 4 51 „ 41 6 „ 4| Each. s. d. 6 6 9 6 12 6 16 6 7 8 37, 38, 39, ds 40 , Rathbone Place, London, W. 61 Handbooks on Art. Is. EACH. (FOR PARTICULARS SEE BACK OF COVER.) SEPIA STUDIES, By CHARLES ROWBOTHAM. Eighteen Studies, in Six Parts. Price 9d. each Part. PENCIL STUDIES, By CHARLES ROWBOTHAM. Twelve Studies, in Three Parts. Price 6d. each Part. STUDIES FROM NATURE, By the Late WILLIAM MULLER Containing facsimiles of 18 Pencil Drawings by this great Artist. In Six Parts. Price Is. each Part. STUDIES OF GARDEN FLOWERS. Reproductions in high-class Chromo-Lithography of Twelve Water-Colour Drawings from Nature. By KATE SADLER. Price 6d. each Plate, or 6s. the set, including printed instructions or Painting each Flower. RAPHAEL DRAWING BOOKS. In 36 Parts, containing various subjects. Price 4d. each Part. 62 WINSOR dr NEW VON, Limited, MADAME E. VOUQA’S FINE ART STUDIES. FOR COPYING IN OIL COLOUR, WATER COLOUR, OR PASTEL, AND FOR DECORATIVE PURPOSES. These well-known Studies now number many hundreds in infinite variety of subject and size ; a complete range is kept in stock. Madame Vouga is constantly adding to her collection, and reproductions are received by Messrs. Winsor & Newton, Limited, immediately on publication. FLOWER STUDIES by MADAME KLEIN. s. d. Set 240. 25± in. by lOf in., 3 plates, Iris the set 9 0 ,, 250. 244 in. ,, 8 in., 4 „ Roses 3 3 9 0 „ 251. i«i », ,, 64 in., 8 ,, Various 3 3 9 0 „ 261. 23^ „ ,, 18 in., 4 ,, Flowers and Fruit 3 3 15 0 „ 266. 204 ,, „ 8f in., 6 „ Various 3 3 10 6 SUNDRY STUDIES. Set 257. 24 in. by 10 in. , 4 plates, Landscape (The Seasons), S- d. the set 12 0 „ 260. 15 in. ,, 11 in., 4 ,, Marine 33 12 0 „ 262. 164 in. „ 11 in., 4 ,, Landscape . . . 7 6 „ 263. 18 in. » 7 in., 4 „ Landscape ... 3 3 7 0 „ 267. 25' in. H* 1 GO Dogs 33 7 6 37, 38, 39, di lfi, Rathbonv Place, London, If '. 63 B.W. STUDIES. Facsimile reproductions of clever Oil and Water Colour Paintings, suitable for framing or as copies. No. 2 . 4. 5. 6 . 7. 8. 9. 10 . 11 . 12 . 13. 14. 15. 16. 17. 18. 19. 20 . 21 . 22 . 23. 24. 25. 26. 27. 28. Title. Artist. Size. Price. Landscape with Sheep... Julian Jos ... 21£by 13£... 1/6 Amberley, Sussex \ Near Falmer, Sussex ...js Warnham Farm, Sussex f Geo. Oyston... 211 by 9| ... 9/- the set of 4. A Surrey Common, ] Evening-' -A ...J j-O. Pilny Arthur ...J Meadows E. Lewis (H Street Scene, Cairo Ditto Venice Ditto Roadside Cabin Killeny Bay Sugar Loaf, Bray Head Glen of the Downs Bray Head and Howth Greystone Harbour Outward Bound ... In Tow Blythburgh, Suffolk Easton Broad, Suffolk Near Bramber Cottage at Flitwick,Beds.\S. Stannard, Ditto J R.B.A. Irish Lake View 1 Ditto Dobbin On the Stour, Sturry ... 1 Sturry Mill, near l Geo. Oyston . Canterbury J 41 by 15^ ... 23f by 17f ... 9| by 6^ .. in. margin) 5/- each. 7/6 the pair. 6/- the set of 6. | Ernest Stuart 21| by 15|... \ ( 14 2 by 6| ^Geo. Oyston 144 by 6| 134 by 94 14 by 104 114 by 8f ^i.bylOf (upright) 3/- the pair. 7/6 the pair. 64 WINSOR c& NEWTON, Limited. Artists’ Sundries. Amadou, for Erasing Charcoal, White Chalk, &c., per oz., Is. 2d. Bronzes in Powder, all shades, 6d. per bottle. Burnishers, Agate, various shapes, Is. 6d. and 2s. each. Canvas Pins, 6d. per dozen. Canvas Clips, McLAREN S PATENT, Is. per set in box. China Palettes and China Sundries for Artists’ use. Drawing Pins, from l|d. to Is. 2d. per dozen ; also in 6d. boxes Gold Shells, 4d., 6d., 9d., and Is. each. Gold Saucers, 7d., Is., Is. 9d., and 3s. 3d. each. Gold Tablets, 5s. each. Gold Paint and Preparation (BESSEMER’S), with Bowl, Brush, &c., complete, in boxes, Is., Is. 6d., and 2s. 6d. Gold Paint ( RENAISSANCE ), with Brush, ready mixed, in red wooden boxes, Is. and 2s. Gold Paint ( THE HANDY), with Brush, ready mixed, 6d. per bottle. Gilders’ Materials — English Gold Leaf, 2s. per book; Size, Is. 2d., Is. 6d., 3s. 6d. per lb. ; Cushions, 2s. each ; Burnishers, 4s. each ; Tips, 3d. each; Knives, Is. 2d. and Is. 3d. each. Horn Centres, 3d. each. Indian Inks, Finest Nankin, from 3d. to 6s. per stick. Ivory Palette Knives, Tracers, &c. Mathematical Instruments, separate and in boxes. Modelling Wax, Tools, &c. Portcrayons, with Cedar Handle, 2d. ; Brass, Id., 2d., 3d., and 6d. Silver Shells, 2d. ; Saucers, 8d. ; Tablets, is. each. Set Squares and Straight Edges. Steel Pens, for Etching, &c. Silver Paint and Preparation ( BESSEMER’S ), with Bowl, Brush, &c. complete, in box, Is. 6d. T Squares — English or French shapes, Mahogany or Pear Wood, in great variety. Water Bottles, for Sketching, from Is. to 8s. 6d. each. Water Glasses, 8d. 9d., and is. each. GETTY CENTER LIBRARY CONS ND 1330 D27 1905 BKS c - 1 Day, Charles William The art of miniature painting : comprisl 3 3125 00226 4352 ONE SHILLING HAND-BOOKS ON ART. With Illustrations, &c. SENT- BI POST ON RECEIPT OP THIRTEEN STAMPS , In ordering it is sufficient to mention the number which is attached to each Booh $fc e No, , 1 L-HALF-HOUB LEGTURBg Q& . - DE&WIM® AM© Mllfll®, 6.-HINTS FOB, SKETCHING. IN WAT’1H« COLOURS FROM NATUBR. 7.— PRACTICAL DIRECTIONS FOE £ GRTRAIT PAINTING IN WAflS= 8. -THU ART OF MINIATURE FAIN TING 9.-T11 ART OF FLO WEB PAINTING m WATER-COLOURS. ■ 10.-THE ART OF LANDSCAPE PAINTING IN OIL-COLOURS, 11.— THE ART OF PORTRAIT FAINTING IN OIL-COLOURS 19.— THE ART OF MARINE FAITOHS Ilf ©XL-COLOURS. 13.— THE ELEMENTS OF PERSPECTIVE, 16.-A MANUAL OF ILLUMINATION. 18.— COMPANION TO MANUAL OF ILLUMINATION. 17. —THE ART OF FIGUBB DSiWIKQ, S.TISTIO TREA HUMAN FIGT 18,— AN A RTIST IC TRE ATIS E ON THE 19.-AB.TI8TIO ANATOMY OF THE HUMAN FIGURE. ai. -THE ANATOMY OF THE HOB S 3 . 23,— THE ABT OF DRAWING IN COLOURED PASTEL CRAYONS. al.-THl ART. 'OF mural decoration. a,-THl ART OF SKETCHING -.FROM NATURE. - 3,-THB AR&OS 1 LANDSCAPE PAINTING IN WATER-COLOURS. 4',-SYSTEM OF WATER-COLOUR PAINTING. 5 -THE ART OF MARINE PAINTING IN WATBB-COLOUBS. 3&-TH® ART OF FAINTING ON GLASS FOR MAGIC LANTERNS, &e. 97. -THE PRINCIPLES OF COLOURING IN PAINTING. 99. -INSTRUCTIONS FOB V ARNES HI N G, CLEANING, LINING. AND RESTORING OIL PAINTINGS. SS.-THJS ABT OF ETCHING ON COPPER,. SA-TEB ART OF PAINTING ON CHINA, WITH A CHAPTER ON TERRA COTTA - FAINTING IN OIL AND WATER-COLOURS, B.— THE SKSTOHER'S MANUAL AND DICTIONARY OF MIXED TINTS IN WATER* COLOURS FOR ALL SUBJECTS IN LANDSCAPE PAINTING. 37. —FLOWER PAINTING _ IN OIL- COLOURS €wlt-2a, Celoured liluesratiousj , 8©.— FRUIT AND STILL LIFE FAINTING IN OIL AND WATER-COLOURS < with Coloured IRasSretioae}. 40,- THE ART OF FEN AND INK DRAWING «srifcH lUasteationsK 41. -TABES, AND HOW TO DRAW THEM Cwit& Illustrations). 4A- INTERIOR DECORATION FOR DWELLING HOUSES *wit& Coloured Illaafe?ati 0 BS). 43. - A DESCRIPTION OF MODERN WATER • COLOUR PIGMENTS. ILLUSTRATED WITH WASHED OF NINETY- SIX COLOURS GRADATED 3Y HAND ON WHATMAN'S DRAWING PAPER, 44. - OIL PAINTING ON GLASS. IN- CLUDING MIRRORS. WINDOWS, ETC., WITH REMARKS UPON THE PRINCIPLES OF PAINTING AND DECORATIVE ART GENERALLY, 45. — OIL PAINTING FOR BEGINNERS A MANUAL OF ELEMENTARY INSTRUCTION, BY S. J. CART- LIDGE, A.R.C.A, WIHSOE & M&WIdWt Limited* 37 to 40, Eathhons Plaee 5 X SOLD BY ALL BOOKSELLERS AND ARTISTS’ OuLOCRifEN.