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THE LIBRARY
OF
THE UNIVERSITY

OF CALIFORNIA

PRESENTED BY
PROF. CHARLES A. KOFOID AND
MRS. PRUDENCE W. KOFOID

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LARGE

PAPER . COPY OF BIRDS,

'G. BROOKSHAW, ESQ.

 

BOUND AND INTERLEAVED FOR

Mr. JOHN DYE,

THE CARROW. BOOK WORM,

1874.

 

 

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56x 3361‘35,

ACCURATELY DRAWN AND COLOURED AFTER NATURE,

3

. FULL INSTRUCTIONS FOR THE YOUNG ARTIST'

INTENDED AS A COMPANION

TO THE

TREATISE ON FLOWER PAINTING.

 

 

n A BY GEORGE RROOKSHAW, ESQ.
. ~ J

 

AUTHOR OF THE POMONA BRITANNICA, TREATISE ON FLOWER PAINTING, 8C0.

 

 

5mm} mutton.

 

i , LONDON:

J
I PUBLISHED BY THOMAS Mc LEAN, ,
PRINTED BY TURNER AND HADLEY, MINERVA PRESS, QUEEN’S BUILDINGS, CHELTENI’IAM-

 

1819.

 

 
   
 

 
 
  

 
   

 

 

 

 

   
 
   

ADVERTISEMENT.

THE following Drawings are submitted to young Ladies with the view of promoting
the taste for drawing Birds, many of which, from their elegant forms and beautiful
plumage, are interesting and appropriate subjects for the pencil: it is true, Birds do
not possess that great variety which exists in Plants and Flowers, but this is in some
measure compensated by the inﬁnite number of attitudes they assume, while their rich

and varied hues will always render them gratifying and pleasing objects.

It would have been easy to have selected more gaudy specimens than those here
given, but as the end proposed is the gradual improvement of the young mind, both as
respects taste and execution, such have been chosen as present the fewest impediments
to the learner, while at the same time they progressively unfold the delicate touches of

the art, and tend to awaken a taste for the chastened and elegant beauties of nature.

Should this undertaking, which has for its object the diffusion of copies of various
interesting subjects, drawn in a free and elegant style, and coloured correctly after
nature, obtain the approbation of the public, the next attempt will be on Fruit

Painting, in the course of which will be introduced instructions and designs for

Painting on Velvet.

March, 1819.

 

 
 
 

    

 

 

    
 
  
 
 
 
 
 
 
   

 

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______.—._———-—-—_

 

Lately Published,
A NEW TREATISE ON FLOWER PAINTING,

Whereby a complete knowledge of that elegant and interesting Art may be attained
without theassistance of a Master. Illustrated with Twelve coloured Plates,

royal 4to. in boards. Price £1. 11s. 6d.

SIX GROUPS OF FLOWERS,

ELEGANTLY COLOURED AFTER NATURE, PRICE £1. 11s. 6d.

THE POMONA BRITANNICA,

Being a Collection of the most esteemed Fruits now grown in Great Britain; accurately
coloured after Nature. In Two handsome Volumes, Elephant 4to. Price £12. 123.

 

 

 

 

 

 

  

THE GOLDFINCH.

THIS Plate represents the Goldﬁnch, whose plumage gives
it a place among the most beautiful of the British singing
birds. ‘ ‘

In copying this bird, the student is recommended to
observe a particular correctness in the outline, so that the
attitude and character may be perfectly preserved: when
this is ascertained by a careful comparison with the c0py,
the colouring may be commenced by putting in the ring of
the eye, which must be kept perfectly round, then the black
tint, leaving the white speck distinct; this requires some
pains and practice, but when done, you may proceed with
more freedom to put in the beak, and the strong orange tint
on the front of the head, which must be darkened with
vermillion and thin lake: next, the shadow under the beak,
the dark side of the breast, the lower part of the belly, the
tail and wings; in doing the wings, the strong lines must
be drawn between the light ones. Now begin to lay in the
very lightest tint on the upper part of the breast; also lay
a straw colour tint all under the red parts, as a ground,
which is to be strengthened with a little vermillion and
burnt terra de siena; at the same time, put the red tint all
round the throat, then the black at the back of the head
and the wings; after which, you may put in the yellow on
the wings, and the light tint on the upper part of the back,
and the tip of the wing; then strengthen the back down-
wards. The whole will now be completely put in, and
holding it at a little distance, observe Where it wants effect,
which you may give by little strengthening touches. The
ﬂower and leaves require no particular instructions.

 

 

 

  
 

 
  
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  
  
 

 

 

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THE TOM-TIT AND RED POLE.

THIS Plate represents two birds, the upper one is the
Tom—Tit, and the under one the Red Pole, both of which" '
are familiar to every person who has been in the habit of ‘
visiting gardens, especially the former, whose principal food
is small green caterpillars, of which it destroys such num- ’
bers, that gardeners account it the most valuable bird we
have. '
If the instructions that have been given with the former '
birds have been attended to, there will be no necessity for
any further directions as to the mode of colouring these;
there being nothing important that can be added to what
has been already said, as the manner of touching in the
tints is the same in all. It is presumed that every lady who
copies from these birds, has already not only studied, but
made some progress in drawing ﬂowers from my ﬁrst book
of instructions: in which they will ﬁnd full directions "for
mixing any of the tints they will meet with, in either the

birds or ﬂowers.-

 

 

 

 

 

 

 

 

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THE PIE FINCH.

THIS Plate represents a Pie Finch 011 a sprig of periwinkle.
This bird has no other claims to our admiration than the
beauty of its plumage, never having been known to sing
although many attempts have been made to teach it: it
has a different character from the others, which should be
attended to in the outlines: it has a short thick neck, and
is a heavy looking bird. I should recommend, as before,
to put in the eye ﬁrst; after which, the dark colour on the
head and the back; then lay a light broWn tint all down
the back and the upper part of the wing: you may now put
in the ground tint of the breast with vermillion and burnt
terra de siena: the feathers of the wing and tail should be
drawn correctly with the black lead], pencil; then go over
the black lead lines with a dark colour, leaving all the light
edges as correct as possible: you may now put in the tint
under the belly and the tail. The whole being laid in,
examine it carefully, and observe, whether the tints are well
blended into each other, makingVWhat corrections appear
necessary, and then begin to strengthen them all: in doing
which, be careful not to have your pencil too wet, and use
quick short touches to make it look feathery: all the beauty
of your bird will depend upon the manner of your touching
in the darker tints; in this I can give no further instruc-
tions, as it must depend upon practice. The more tints you
work in the richer it will look.

The ﬂower is so easy, that no directions will be ne-
cessary, if those in my ﬁrst book of instructions have been
carefully copied.

 

 

 

 

THE BRAMBLE FINCH.

THIS is rather a gay feathered bird, but it has no note as a
singing bird whatever; it is a common hedge bird, and is
called the Bramble Finch from its building its nest and
being always found in bramble bushes: all its colours are
so distinctly marked, that it appears useless to give any
particular directions how to begin it, except that the dark
lines of the feathers should be drawn pretty strong with a
black lead pencil, and then laid over with a dark colour.
As there are no tints in this bird but what must be familiar
to the learner, I can only recommend practice and attention
to the pattern. In drawing the sprig, be careful to preserve
the freedom of all the branches.

 

 

 

 

 

 

 

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THE BULLFINCH.

HAVING drawn a correct outline, begin this bird by putting
in the eye in the manner described in the instructions for
the Goldﬁnch, being careful to preserve the white speck
perfect, which, if covered, can be only repaired by a speck
of body colour: lay in the lightest red tint all over the
breast with vermillion, but not strong; to make this appear
feathery, put in the darker touches with a short hair pencil,
and not with too ﬁne strokes, as they will resemble hair
rather than feathers: several tints must be introduced and
well intermixed, no part being suffered to appear smooth.
It will require some pains to blend the red into the bluish
tint on the shoulders; the best method will be to soften off
the red before you begin the blue, and not to let the red
come upon the part which is to be blue, as the bluish tint
will not shew upon the red: a little Indian ink must be
mixed in the blue to give it a more dull appearance; this
thin light tint also serves to lay in the wing and tail feathers:
the under side of the belly is a faint tint of Indian ink:
there is a little burnt terra de siena with vermillion in the
dark tints of the breast, which must be worked thin, to

soften into the light parts below.

 

 

 

 

 

 

 

 

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GENERAL LIBRARY- ".0. BERKELEY

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