  It is to the painters that we owe some curious and original effects in pen-drawing, that no professional pen-draughtsman who has studied the science of reproduction could have given us, however independent his attitude towards process. 7¾ × 5. PASTURAGE. From a drawing by Mr. Alfred Hartley. PORTRAIT OF MR. BONNAT, BY HIMSELF. Painters who have known nothing whatever of processes have from time to time been called upon to make pen-drawings from their paintings for reproduction in illustrated exhibition catalogues, and their drawings have frequently been both of the most ludicrously impossible character from the process point of view, and bad from the independent penman’s standpoint. But a percentage of this painters’ pen-work, done as it was with a free hand and an unprejudiced brain, is curiously instructive. A very great number of painters’ pen-drawings have been made up to within the last few years (since which time half-tone process blocks produced from photos of their pictures have superseded them), and painters have in no small measure helped to advance the science of process-work, merely by reason of the difficulty of reproducing their drawings In this connection half-tone processes have done inestimable harm, for, to-day, the catalogues and the illustrated papers are filled with photographic reproductions of paintings where in other days autographic sketches by the painters themselves were used to give a value that is now lacking to these records of exhibitions. They have frequently a heavy hand, these painters, and are prodigal of their ink; moreover, they have not the paralyzing dread of an immaculate sheet of white cardboard that seizes upon the black-and-white man (so to call the illustrator), who is brought up with the fear of the process-man before him. Thus you will find Mr. Wyllie make pen-sketches from his pictures with a masterful hand, and a pen (apparently a quill) that plumbs the deepest depths of the inkpot, and produces a robustious drawing that wrings conviction out of one by the thickness and surety of its lines; or again, Mr. Blake Wirgman shows equal vigour and directness with portraits in pen-and-ink, replicas in little of his oil-paintings. One could desire nothing more masculine than the accompanying illustration from his hand. 18 × 10½. TOWING PATH, ABINGDON. From a drawing by Mr. David Murray. A PORTRAIT FROM A DRAWING BY MR. T. BLAKE WIRGMAN. A striking exception to these is seen in Mr. Alfred Hartley’s drawing of a pasturage. It is full of tender, pearly greys, and is drawn with the lightest of hands, but with a peculiar disposition of pen-strokes that no professional pen-draughtsman would employ, because of his But with Mr. David Murray’s large pen-drawing it was another matter. The greyness of the ink with which it was drawn and the extreme tenuity of its lines rendered it impossible of adequate reproduction except by the swelled gelatine process which has been employed. The result is admirable; all the fine grey lines in the sky are reproduced and give an excellent effect. The portrait of the painter, Mr. Bonnat, by himself, is one of the most suggestive pen-drawings that can be found anywhere. It shows what admirable effects of light and shade and modelling can be obtained even with the heavy hand, and it is worthy careful study. Unfortunately the illustrations in the long series of Academy Notes, in which so many autographic sketches by painters appear, are almost useless for study and comparison, because of the extreme reduction to PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, WATERLOW & SONS, LIMITED, Photographic Art Printers and Engravers, FINSBURY WORKS, LONDON, E.C. Photo-Zincography. Photo-Lithography. Photo-Mechanical Printing. Collotype.—Hand and Machine Printing for Art Publications, Scientific and Antiquarian Periodicals, Machinery, Landscapes, Portraits, Pottery, Furniture Designs, Trade Advertisements, &c. The superior results given by this process, and the rapidity and cheapness by which the prints are produced, together with the advantage of printing with or without margins, place it in the first rank of processes for commercial purposes. MESSRS. WATERLOW & SONS, LIMITED, have given this branch of the Photo-Printing Department special facilities for the production of good work, and have introduced the most perfect machinery and plant obtainable. Woodbury Prints.—High-class permanent copies, equal in appearance to the best Silver Prints, of Portraits, Landscapes, Furniture, Pottery, &c. Prints may be obtained in almost any colour from Customers’ own Negatives, or from the original objects. These reproductions are specially suitable for Portrait work, and are valuable for every description of Artistic or Commercial Illustrations. Photo-Binco Engraving.—Blocks for Surface Printing, from Line and Grained-paper Drawings, Steel and Copper Plates, Wood Engravings, &c., &c. Letter-press Blocks in “Half-tint” (stipple or dot) direct from Photographs from Nature, without drawing. Accurately registered Blocks for Chromographic Printing. Intaglio Engraving in Line and Half-tone on Copper and Zinc. The greatest care and skill is employed in the production of these Blocks, and the results are the finest which it is possible to obtain. The new and extensive Photographic Works being fitted with Modern Appliances, Machinery, Electric Lighting, &c., rapid and accurate work is always obtainable, irrespective of weather or season. PRICE LISTS, ESTIMATES, and full particulars on application. WATERLOW & SONS, Limited, Finsbury Works, E.C. ART PUBLICATIONS THE THEORY AND PRACTICE OF DESIGN. 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Being a Course of Exercises for the use of Students in Architectural and Engineering Drawing, and for Candidates preparing for the Examinations in this subject and in Third Grade Perspective conducted by the Science and Art Department. By Robert Pratt. With numerous Plates. Oblong 4to. 7s. 6d. WOOD-CARVING IN PRACTICE AND THEORY, as applied to the Home Arts, with Notes on Design having Special Application to Carved Wood in Different Styles. By FranÇois Louis Schauermann. Preface by Walter Crane. With 124 Illustrations. Second Edition. 8vo. 5s. DECORATIVE DESIGN. An Elementary Text-book of Principles and Practice. By F. G. Jackson. Fully Illustrated. Second Edition. Large crown 8vo. 7s. 6d. HANDBOOK OF PERSPECTIVE. By H. A. James, M.A. Cantab. With 75 Diagrams. Crown 8vo. 2s. 6d. LIFE IN ANCIENT EGYPT AND ASSYRIA. By G. MaspÉro. Translated by A. P. Morton. With 188 Illustrations. Third Thousand. Crown 8vo. 5s. RAPHAEL: His Life, Works, and Times. By Eugene Muntz. Imperial 8vo. 25s. TEN LECTURES ON ART. By E. J. Poynter, R.A. Third Edition. Large crown 8vo. 9s. THE SCULPTOR AND ART STUDENT’S GUIDE to the Proportions of the Human Form, with Measurements in feet and inches of Full-Grown Figures of Both Sexes and of Various Ages. Translated by J. J. Wright. Plates reproduced by J. Sutcliffe. Oblong Folio. 31s. 6d. OUTLINES OF HISTORIC ORNAMENT. By G. Redgrave. Translated from the German. Edited by G. Redgrave. Crown 8vo. 4s. THE CHARACTERISTICS OF STYLES. An Introduction to the Study of the History of Ornamental Art. By R. N. Wornum. Ninth Edition. Royal 8vo. 8s. THE MYTHOLOGY OF GREECE AND ROME, with Special Reference to its Use in Art. From the German. Edited by G. H. Bianchi. 64 Illustrations. New Edition. Crown 8vo. 5s. G. PERROT and C. CHIPIEZ. A HISTORY OF ANCIENT ART IN GREECE. With about 500 Illustrations. 2 vols. A HISTORY OF ANCIENT ART IN PHŒNICIA, CYPRUS, AND ASIA MINOR. 500 Illustrations. 2 vols. Imperial 8vo. 42s. A HISTORY OF ART IN ANCIENT EGYPT. With 616 Illustrations. 2 vols. Imperial 8vo. 42s. A HISTORY OF ART IN CHALDÆA AND ASSYRIA. With 452 Illustrations. 2 vols. Imperial 8vo. 42s. A HISTORY OF ANCIENT ART IN SARDINIA, JUDÆA, SYRIA, AND ASIA MINOR. With 395 Illustrations. 2 vols. Imperial 8vo. 36s. A HISTORY OF ANCIENT ART IN PERSIA. With 254 Illustrations, and 12 Steel and Coloured Plates. Imperial 8vo. 21s. A HISTORY OF ANCIENT ART IN PHRYGIA-LYDIA AND CARIA-LYCIA. With 280 Illustrations. Imperial 8vo. 15s. LONDON: CHAPMAN & HALL, LD. Transcriber’s Notes: The cover image was created by the transcriber, and is in the public domain. The illustrations have been moved so that they do not break up paragraphs and so that they are near the text they illustrate. Typographical errors have been silently corrected but other variations in spelling and punctuation remain unaltered. The use of “v” in REPRODVCTION and Illvstrations as they appear on the title page and in the heading for the list of illustrations have been retained. |
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