Antwerp BlueAzure BlueBistreBlue BlackBronze GreenBrown OchreBrown PinkBurnt OchreBurnt SiennaBurnt UmberChinese VermilionChinese WhiteChrome Yellow, PaleChrome Yellow, MiddleDo.DeepCologne EarthDragon's BloodEmerald GreenFlake WhiteGambogeGreen BiceGreen VerditerHooker's Green, No. 1 ShadeDo.No. 2 do.Indian RedIndigoItalian PinkIvory BlackKing's YellowLamp BlackLight RedNaples YellowNeutral TintOliveOrangePayne's GreyPermanent RedPrussian BluePrussian GreenPurpleRaw SiennaRaw UmberRed ChalkRoman OchreSap GreenSaturnine RedTerra VerteVandyke BrownVenetian RedVermilionYellow LakeYellow Ochre
Whole Cakes, 1s.6d.,Half Cakes, 9d.each.
Brown MadderCoëlin BlueCrimson LakeIndian YellowIntense BlueMars YellowPermanent WhitePurple LakeScarlet LakeScarlet VermilionSepiaWarm SepiaGreen Vermilion
Whole Cakes, 2s.,Half Cakes, 1s.each.
Cobalt BlueCobalt Ash, Nos. 1 & 2Green Oxide of ChromiumLemon YellowOrange VermilionPure OrangeViolet Carmine
Whole Cakes, 3s.,Half Cakes, 1s.6d.each.
Burnt CarmineCadmium Yellow, PaleCadmium Yellow, MiddleCadmium Yellow, DeepCarmineFrench UltramarineGallstoneIntense MadderOrange Scart. MadderPermanent BluePink MadderRose MadderRoyal ScarletYellow Madder
Whole Cakes, 5s.,Half Cakes, 2s.6d.each.
Extract of VermilionMadder CarmineMars OrangePurple MadderRoyal BlueSmaltUltramarine AshUltramarine (Genuine)
Whole Cake, £1 1s., Half Cake, 10s.6d., Quarter Cake, 5s.6d.each.
Powder Colours for Illuminating,
In Bottles,
Ready prepared for use with the admixture of Water only.
Prices same as Whole Cakes.
1½ Guinea Box.
1½ Guinea Box.
1½ Guinea Box.
Boxes of Colours for Illuminating and Missal Painting.
Half-Guinea Box.
French Polished Mahogany Slide-top Box, containing Six Half Cakes of Colours—Crimson Lake, Scarlet Vermilion, French Ultramarine, Emerald Green, Pale Chrome, and Burnt Sienna, Tube of Enamel White, Gold and Aluminium Shells, Four Siberian Brushes, Burnisher, and Indian Ink.
One Guinea Box.
Mahogany French Polished Lock Box, containing (in a Japanned Tin Box) Crimson Lake, Scarlet Vermilion, Cobalt, French Ultramarine, Cadmium Yellow, Lamp Black, Emerald Green, Burnt Sienna, Bottle of Enamel White, Prepared Gum Water, China Slab, Water Glass, Liquid Ox Gall, Saucer of Gold, Saucer of Aluminium, Agate Burnisher, Cumberland Lead Pencil, Sable Brushes, and Gummed Gold Paper.
One Guinea and a Half Box.
Mahogany French Polished Lock Box, containing (in a Japanned Tin Box) Crimson Lake, Scarlet Vermilion, Cobalt, French Ultramarine, Cadmium Yellow, Lamp Black, Emerald Green, Burnt Sienna, Rose Madder, Gamboge, Vandyke Brown, and Pale Chrome Yellow, Bottle of Enamel White, Prepared Gum Water, Liquid Ox Gall, Gold Ink, Saucer of Gold, Saucer of Aluminium, China Slab, Water Glass, Pot of Water Gold Size, Agate Burnisher, Cumberland Lead Pencil, Six Sable Brushes, and Gummed Gold Paper.
Materials for Illuminating and Missal Painting.
Materials for Illuminating and Missal Painting.
Two Guinea Box.
Mahogany French Polished Lock Box, containing (in a Japanned Tin Box) Crimson Lake, Scarlet Vermilion, Cobalt, French Ultramarine, Cadmium Yellow, Lamp Black, Emerald Green, Burnt Sienna, Rose Madder, Gamboge, Vandyke Brown, Pale Chrome, Carmine, Green Oxide of Chromium, Permanent Red, Brown Madder, Lemon Yellow, and Violet Carmine, Bottle of Enamel White, Prepared Gum Water, Liquid Ox Gall, Gold Ink, Saucer of Gold, Saucer of Aluminium, Six-Division China Slab, Water Glass, Pot of Water Gold Size, Agate Burnisher, Cumberland Lead Pencil, Eight Sable Brushes, and Gummed Gold Paper.
Three Guinea Box.
Rosewood Caddy Lid French Polished Box with Plated Fittings, containing Colours, &c., as above, and a most complete Set of Materials.
Gold, Silver, Aluminium, &c.
Gold and Silver Ink.
Bessemer's Gold Paint.
Bronzes.
Prepared Vellum.
PRICE ACCORDING TO SIZE.
Small Agate Burnishers.
Albata Ferrules and Black Handles, various patterns each 2 0
A LARGE ASSORTMENT OF OUTLINES, COPIES, AND BOOKS ON ILLUMINATING ALWAYS IN STOCK.
De Lara's Series of Outlines and Publications, for which see his List.
Illuminating Art Union of London
Illuminating Art Union of London
(INSTITUTED 1857.)
For promoting and encouraging theMediæval Style of Illuminating on Vellum, adaptable for Modern purposes, eithersacred or secular, to hold Annual Exhibitions and distribute prizes for original designs, and to affordemploymentto the educated gentlewomen of limited means.
Annual Subscription £1 1s.
For which an "Original Vellum Illumination" executed by the less affluent Members, will be presented annually to the Subscribers.
Life Members £12 12s.
Patronesses.
LAURA, COUNTESS OF ANTRIM.The COUNTESS OF DALKEITH.The COUNTESS OF LICHFIELD.The COUNTESS DOWAGER OF LICHFIELD.VISCOUNTESS DUNGARVON.VISCOUNTESS FORBES.VISCOUNTESS JOCELYN.COUNTESS OF MOUNT EDGECOMBE.BARONESS DE ROTHSCHILD.LADY HARRIET ASHLEY.LADY NAAS.LADY G. REBOW.LADY DE ROTHSCHILD.LADY ANNA LOFTUS.LADY C. LOFTUS.LADY SARAH SPENCER.LADY HELEN M'DONNELL.LADY FRANCES HARCOURT.LADY LOUISA BOYLE.LADY LOUISA LASCELLES.LADY LOUISA TENISON.HONOURABLEMrs.YELVERTON.HONOURABLEMrs.CUNYNGHAME.HONOURABLE LORA LANE FOX.HONOURABLEMissMONTAGUE.Mrs.RIDGEWAY.Mrs.E. WYNNE (Pernambuco).Mrs.BELLEW.Mrs.CHAUNCY.Mrs.HENRY BOLTON.Mrs.FABER.MissDE ROTHSCHILD.MissANNA D'ARLEY.MissVAUGHAN.MissS. MOSTYN OWEN.MissFRANCES GRAHAM M'DOWALLMissFOX STRANGWAYS.&c., &c.
Honorary Secretary.
MRS. FABER.
Honorary Treasurer.
CHARLES BOARD,Esq.
Manager.
D. LAURENT DE LARA,Esq.
Prospectuses and Reports may be had ofD. Laurent de Lara,Manager, 3, Torrington Square, Russell Square, W.C.
104105
LIST OFCOLOUR BOXES AND MATERIALS,PREPARED BYGEORGE ROWNEY & COMPANY,FORIlluminating & Missal Painting.
LIST OF
COLOUR BOXES AND MATERIALS,
PREPARED BY
GEORGE ROWNEY & COMPANY,
FOR
Illuminating & Missal Painting.
15s. Mahogany Box,
CONTAINING
Cobalt, Prussian Blue, Emerald Green, Chrome 2, Crimson Lake, Vermilion, Gold and Silver Shells, Agate Burnisher, and Three Sable Brushes.
21s. Mahogany Lock Box,
CONTAINING
Cobalt, Fr. Ultra, Emerald Green, Sap Green, Chrome 2, Chrome 4, Crimson Lake, Madder Lake, Lamp Black, Vandyke, Vermilion, and White, Gold, Green Gold, and Aluminium Shells, Agate Burnisher, Sable Brushes, &c., &c.
31s. 6d. Caddy Lid Box,
CONTAINING
Cobalt, Fr. Ultra, Emerald Green, Sap Green, Chrome 1, Chrome 3, Dragon's Blood, Vermilion, Yellow Oker, Lamp Black, Violet, Carmine, Rose Madder, Carmine, Bt. Carmine, Bottle of Chinese White, Gold, Green Gold and Aluminium Shells, Gold Leaf, Agate Burnisher, Dividers, Sable Brushes, Pot of Water Gold-Size, &c.
2 Guinea Caddy Lid Box with Drawer,
CONTAINING
Cobalt, Fr. Ultra, Emerald Green, Sap Green, Chrome 1, Chrome 3, Gamboge, Yellow Oker, Bt. Sienna, Vandyke, Sepia, Lamp Black, Crimson Lake, Scarlet Vermilion, Rose Madder, Purple Madder, Madder Brown, Carmine, Bottle of Chinese White, Pot of Water Gold-Size, Two Shells, each as above, Gold Leaf, Extra Brushes, &c.
3 Guinea Rosewood, Caddy Lid,
CONTAINING
besides the above Eighteen colours, Prussian Blue, Violet Carmine, Cadmium Yellow, Mars Orange, Bt. Carmine, Deep Rose; and every article necessary for all descriptions of Illuminating.
Boxes may be obtained, fitted to any arrangement required. A large assortment of Laurent de Lara's outlines, plain, or partly coloured either on fine Card or Vellum.
GEORGE ROWNEY & CO.,
MANUFACTURING ARTIST'S COLOURMEN,
51 & 52, RATHBONE PLACE,
LONDON.
FOOTNOTES:[A]Videlist of materials at the end of the book.[B]A contemporary has asserted, that "vermilion" and "white" should not be mixed; he says: "The vermilion must not be mixed with white, or it will lose its brilliancy, and become a colour like brickdust." I know not what vermilion or white he used to induce him to come to this conclusion, but, after an experience of many years, I assert, that if the proper illuminating colours are used, they will, in combination, form that beautiful "salmon tint," so frequently to be found in the old missals.[C]Or with one of Gillott's fine Lithographic Pens.[D]I have prepared a variety of drawings of initial letters, and classical borders both on vellum and cardboard, withaccompanying outlinesof the same, very faintly lithographed, on super-fine drawing-boards which may be purchased for a trifling expense at most art repositories and booksellers. The illuminations mayalso be purchased, or are lent on hire, for the purposes of copying. These are executed under my direction and superintendence, by my numerous pupils, who now follow out the art as a lucrative profession. As the student will obtain better and more accurate ideas of copying fromdrawingsthan fromprints, I have, at the suggestion of many of my friends, adopted this plan of supplying the amateur artist with an illuminated copy, and itsoutline, which he mayeasilyfill up according to his own taste, or strictly follow the original: the encouragement this suggestion has received from the public has tended to confer a great boon on a worthy class of female artists, who have been zealous and successful in a beautiful branch of female accomplishment.[E]Some eminent writer on "ornamental art" strongly objects to introduce "casting shadows" in ornamentations, or in other words bringing out objects in "relief,"—he argues, with some apparent plausibility, that if treading on a carpet, where flowers or scrollwork were introduced, he should be afraid of crushing the flowers, or stumbling over the ornamentations. I know not which to admire most, the pedantry of modern philosophy on art, or the actual beauty displayed in the "Old Missals," in which these charming "casting shadows" present such bewitching reality to the imagination. I leave the question to be answered by the untutored beholder, without venturing on any theory of my own.[F]8s. plain, 16s. partly coloured.[G]This Song published and set to Music, byH. Von Hoff, words byLaurent de Lara.
[A]Videlist of materials at the end of the book.[B]A contemporary has asserted, that "vermilion" and "white" should not be mixed; he says: "The vermilion must not be mixed with white, or it will lose its brilliancy, and become a colour like brickdust." I know not what vermilion or white he used to induce him to come to this conclusion, but, after an experience of many years, I assert, that if the proper illuminating colours are used, they will, in combination, form that beautiful "salmon tint," so frequently to be found in the old missals.[C]Or with one of Gillott's fine Lithographic Pens.[D]I have prepared a variety of drawings of initial letters, and classical borders both on vellum and cardboard, withaccompanying outlinesof the same, very faintly lithographed, on super-fine drawing-boards which may be purchased for a trifling expense at most art repositories and booksellers. The illuminations mayalso be purchased, or are lent on hire, for the purposes of copying. These are executed under my direction and superintendence, by my numerous pupils, who now follow out the art as a lucrative profession. As the student will obtain better and more accurate ideas of copying fromdrawingsthan fromprints, I have, at the suggestion of many of my friends, adopted this plan of supplying the amateur artist with an illuminated copy, and itsoutline, which he mayeasilyfill up according to his own taste, or strictly follow the original: the encouragement this suggestion has received from the public has tended to confer a great boon on a worthy class of female artists, who have been zealous and successful in a beautiful branch of female accomplishment.[E]Some eminent writer on "ornamental art" strongly objects to introduce "casting shadows" in ornamentations, or in other words bringing out objects in "relief,"—he argues, with some apparent plausibility, that if treading on a carpet, where flowers or scrollwork were introduced, he should be afraid of crushing the flowers, or stumbling over the ornamentations. I know not which to admire most, the pedantry of modern philosophy on art, or the actual beauty displayed in the "Old Missals," in which these charming "casting shadows" present such bewitching reality to the imagination. I leave the question to be answered by the untutored beholder, without venturing on any theory of my own.[F]8s. plain, 16s. partly coloured.[G]This Song published and set to Music, byH. Von Hoff, words byLaurent de Lara.
[A]Videlist of materials at the end of the book.
[B]A contemporary has asserted, that "vermilion" and "white" should not be mixed; he says: "The vermilion must not be mixed with white, or it will lose its brilliancy, and become a colour like brickdust." I know not what vermilion or white he used to induce him to come to this conclusion, but, after an experience of many years, I assert, that if the proper illuminating colours are used, they will, in combination, form that beautiful "salmon tint," so frequently to be found in the old missals.
[C]Or with one of Gillott's fine Lithographic Pens.
[D]I have prepared a variety of drawings of initial letters, and classical borders both on vellum and cardboard, withaccompanying outlinesof the same, very faintly lithographed, on super-fine drawing-boards which may be purchased for a trifling expense at most art repositories and booksellers. The illuminations mayalso be purchased, or are lent on hire, for the purposes of copying. These are executed under my direction and superintendence, by my numerous pupils, who now follow out the art as a lucrative profession. As the student will obtain better and more accurate ideas of copying fromdrawingsthan fromprints, I have, at the suggestion of many of my friends, adopted this plan of supplying the amateur artist with an illuminated copy, and itsoutline, which he mayeasilyfill up according to his own taste, or strictly follow the original: the encouragement this suggestion has received from the public has tended to confer a great boon on a worthy class of female artists, who have been zealous and successful in a beautiful branch of female accomplishment.
[E]Some eminent writer on "ornamental art" strongly objects to introduce "casting shadows" in ornamentations, or in other words bringing out objects in "relief,"—he argues, with some apparent plausibility, that if treading on a carpet, where flowers or scrollwork were introduced, he should be afraid of crushing the flowers, or stumbling over the ornamentations. I know not which to admire most, the pedantry of modern philosophy on art, or the actual beauty displayed in the "Old Missals," in which these charming "casting shadows" present such bewitching reality to the imagination. I leave the question to be answered by the untutored beholder, without venturing on any theory of my own.
[F]8s. plain, 16s. partly coloured.
[G]This Song published and set to Music, byH. Von Hoff, words byLaurent de Lara.
Transcriber's notesClear printer's errors were corrected, but original spelling was not modified or harmonized.
Clear printer's errors were corrected, but original spelling was not modified or harmonized.