feA-' (^ Ho £ lAJ L-V c. BY APPOINTMENT TO HER LATE MAJESTY yUEEN ALEXANDRA AND TO THEIR MAJESTIES THE KING AND £UEEN OF ITALY ROBERSON & CO LIMITED Artists 9 Colour Makers ESTABLISHED 1810 •OOO 99 LONG ACRE and 155 & 156 PICCADILLY, LONDON Telephone: TEMPLE BAR 4844 Depot de Paris: 3 Quai Voltaire Vll e PRINTED BV HAZELL, WATSON AND VINEY, LTD., LONDON AND AVLLSBUKY PRIZE MEDALS INTERNATIONAL EXHIBITIONS, 1851 & 1862 Awarded to CHARLES ROBERSON & CO. Notice THE prices in this Catalogue will be adhered to as far as possible, but fluctuation in the market value of certain raw materials — Sable Hair, for instance — from time to time may cause alteration to be necessary. Packing cases are charged cost price, and will be allowed for on return in good condition within one month, free of expense. A letter of advice announcing the des- patch must always be sent. To prevent delay in the execution of their orders, customers who are unknown, or have no current account open with the firm, are respectfully requested to forward remittance or London reference. Pictures or other articles of value in the care of the firm for framing, restoring, or any other work thereon, or for delivery to or collection from Exhibition, will always receive the most careful handling and attention, but it must be distinctly understood that no responsibility is accepted, and that they are at owner's risk. Insur- ance can be effected if desired. Telegraphic Address : "ROBMED, LONDON" Telephone Number: TEMPLE BAR 4844 Restoration of Pictures "ESSRS. C. ROBERSON & CO. beg to inform their customers that they undertake and carefully attend to all such work as the alteration in size of Artists' Canvases, either when partially worked on or when finished, enabling an artist to enlarge a picture instead of starting the work anew. Lining of all kinds of pictures and studies, cleaning and restoring damaged works of art, varnishing pictures for exhibition, etc., carefully and skilfully dealt with. Water Colour Drawings affected by damp and mildew successfully restored to original condition. Engravings cleaned and restored. The above class of work has been executed for many of the leading artists during the past hundred years. Draycott Lodge, Fulham. 6th February, 1897. Dear Sirs, I am glad to acknowledge the return of the picture which you have had to put in order and restore. I have examined it with attention and the damage seems entirely corrected, and the re-straining to have been most skilfully and effectually executed. I am, Yours faithfully, (Signed) W. HOLMAN HUNT. Messrs. Roberson & Co. Sir George Clausen, R.A., writes : — Widdington, Newport. 2nd July, 1899. Gentlemen, I have just returned home and find the picture, which you have lined very satisfactorily. . . . Yours faithfully, (Signed) GEORGE CLAUSEN. Messrs. Roberson & Co. Henry Woods, Esq., R.A., writes : — Venice. 20th January, 1901. Gentlemen, I was very pleased to say that the work was admirably done, with none of the usual drawbacks to lining a picture visible. . . . Truly yours, (Signed) HENRY WOODS. Messrs. Roberson & Co. T. S. Cooper, Esq., R.A., writes, in his autobiography, with refer- ence to his picture " The Monarch of the Mountain " : — " That it was restored by Messrs. Roberson & Co., of Long Acre, in the most perfect manner. When I saw the picture after its return to Lancaster Gate I was greatly pleased with the success of Roberson's treatment, and thought the picture looked as well as ever." INDEX PAGE PACE Academy Boards 41 Boards, Holdfast 75 " A. CM." Drawing Blocks 68 ,, Mounting 74 ,, Hand -made Paper 60 Pastel . . 72 Sketch Books .. 69 „ Phocal . . 74 ,, Sketching Boards 72 Water-colour 72 ,, Tracing Cloth 66 ( , Wood Drawing 77 " Acre " Boxes . . T 3 Books Painting . . 124-126 ,, Brush Case 32 ,, Sketch . . 69-71 ,, Crayon Paper . . . 64 ,, Stencil ,, Hand-made Cards 73 Bottles, ( 31 ,, Sketch Books . . 7 1 ,, Water . . 18, 94 Adjustable Set Square . . 79 Bow Compasses . . .. 83 Agate Burnishers 6 Box Easel .. 103 Albata Bottles and Cups 18 Boxall 's Pens 1 19-120 ,, Boxes T 5 Boxes, Cake Colour 10 Aluminium Folding Palettes 15 Colour Note 16 ,, Powder and Cakes 6 Illuminating 6 ,, Tempera Palettes 93 ,, Japanned Tin Oil 30-31 " Alyn Williams " Eraser . 116 ,, „ Water- Amadon . 89 colour 11-17 Amber Colours . . 26 , , Locket 17 ,, Medium . . 26 ,, Miniature 17 ,, Varnish • 36 , , " Roberson " 17 Antwerp Palettes 95 ,, Signwriters' 31 " Aquarella " Medium . . 10 ,, Sketching 34, 35 Aquarelle Tablets 72 ,, Water-colour Pans n— 13, 15 Architects' Cup and Basin 92 .. ,, ,, Tubes 14. l 5 ,, Curves 79 ,, Wooden Sketching • -34. 35 ,, Drawing Boards 77 Boxwood Scales 81 ,, T Squares • 78 Bristol Boards 73 Armatures in Bronze Medium 6, 123 " Arnold " Drawing Blocks • 67 ,, Powders 6, 123 ,, Hand-made Paper . 62 Brush Cases 32 Tablets 72 ,, Washers 3i " Art for All " Series of Books . 126 Brushes, Badger . . Artists' Smocks 122 Camel Hair, in Ferrule 47 " Art School " Sketch Book 70 " ,, Mops Quills 5i 47 Badger Brushes ,, Fitch 48, .59 Bags, Sketching . . 107 ,, for Writers and Liners 49-50 Balanced Palettes 95 ,, Hog . . 45 Baths, China 92 ,, Hog Hair 52-55 Bicycle Sketching Case 19 ,, Ichneumon 4 8 < 59 Black and White Desk . 98 ,, Oil-painting ••52-59 Blackboard Chalks • 87 ,, " One Stroke " Ox Hair 50 ,, Compasses in ,, Sable 50 Blanc d Argent . . 4 ,, Ox Hair and Sable 49 Block Cases • 67 ,, Poster 49 " Block Letter " Pen 120 , , Sable 57-58 Blocks, Drawing . . 67, 68 , , Sable, in Ferrules 44-45 Blocks, Oil Sketching 41 ,, Quills • -42-43 Blouses, Artists' . . 122 ,, Taurus • • 58 Boards, Academy 41 ,, Varnish •• 56 Bristol .. 73 ,, Water-colour . 42-51 ,, Canvas . . 40 ,, Wash, Camel . . . 46 ,, Fashion Plate . 73 >> ,, Sable . 43 C. EOBERSON & CO., LTD., 99 LONG ACRE, W.C.2 PAGE | PACE Burnishers, Agate 6 Colours, Powder . . 9 ,, Gold Size 6 ,, Scene Painting. . 9 " Bushey " Sketch Book 70 ,, Spirit Frescoe . . 29 ,, Water-colour . . • ■ 2, 3 Cabinets, Studio 99 Combination Sketch Book 21 Cake Boxes 10 Compasses, Blackboard in Callipers TIO ,, Pen and Pencil .. 83 " Cambric " Sketch Book 7 1 1 Proportional 82 Camel Hair Brushes 4 6 - 47 Compressed Charcoal 88 ,, ,, Mops 51 Conte Chalks .. 87 Camp Stool • 105 ,, Coloured Pencils . . 86 " Canson " Paper • 63 ,, Crayolors 90 Canvas 37 ,, Crayons in Cedar .. 87 ,, Boards . . 40 Continuous Paper .. 65 ,, Brush Case • 32 j Copper Plates .. 113 ,, on Stretchers 38.39 Copper-plate Ink •• 113 Pins 80 " Cosway " Sables 44, 116 ,, Scrapers . . 97 " Cotman " Sables 45 ,, Straining Pliers. . 37 " Cox " Paper .. 63 ,, Supports. . IOI Crayolors 90 ,, Water-colour •• 37 Crayon Paper 64, 65 Carbon Pencils • • 85 Crayons, etc. .. 87 Cartoon Chalks . . .. 8 7 " Creswick " Paper 61 ,, Papers .. 65 Cups, Water 18 Cartridge Blocks 68 Curves, Architects' 79 Books . . 69, 70 Cushions, Guilders' 6 ,, Papers. . ... 64 Cut-out Mounts 74 Cases for Blocks . . .. 67 ,, Brushes 32 " David Cox " Paper .. 63 ,, Instruments . . .. 84 Deal Clamped Boards . . 77 ,, Sketching 19 Dean's Painting Books . . 126 Castors for Easels IOI ,, Stencil Books .. 125 Cedar Handle Hog Brushes 54 Designers' Sables 43 Celluloid Brush Cases . . 32 Desk, Water-colour . . 98 ,, Transparent . . • • 123 Detail Paper 66 Water Bottles 18 " De Wint " Palette 16 Centre Slants 93 Diminishing Lenses 107 Chalk, Cartoon .. 87 Dippers for Oil Painting 33 ,, Cont6 .. 87 Dividers 82 ,, Drawing Paper . . .. 64 Dotting Pen 82 „ Pencils .. 76 Double-end Pocket Sables 43 Chalks, etc. .. 87 Drawing Boards 77 Charcoal . . 88 Blocks . . 67, 68 ,, and Crayon Papers f'4. 65 ,, Cards . . 74 ,, Compressed 88 ,, Papers . . . . 60-66 Chatelaine Purse Cases . . 21 ,, Pencils . . 85, 86 Cherry Wood Blocks .. 114 ,, Pens 121 China Ware 92, 93 ,, Pins 80 Chinese White 4 " Claude Lorraine " Mirrors 107 Easelette .. 103 Closing Easels • • 103 '. Easels, Display . . .. 98 Cloth, Tracing 66 ,, Sketching 103 " College " Drawing Book 70 Studio IOI Colour Note Box 16 Table .. 9S Coloured Pencils 86 Engineers' Drawing Boards 77 Colours, Amber . . 26 Erasers, Ink 89 ,, Marble Medium . .28-29 ,, Pencil .. 89 Matt . .28-29 Steel 97 Oil • 22-25 Erasing Shield .. 89 , , Poster 5 1 Etching Baths 92 & 155. 156 PICCADILLY, W.I, LONDON PAGE I PAGE Etching Materials .. 112-113 Hologlyphic Plates . 114 Outfit • 113 Horn Palette Knives 97 ,, Papers . . . II 4 Horse Lay Figure 106 ,, Press 112 Extra Line Hog Brushes 52 Ichneumon Brushes, O'il ,, ,, Water- 59 " Facila " Set Square . . 79 colour . . 48 Fan Brushes, Hog 55 Illuminating Materials . . 6 Sable ■ 58 Indian Ink, Liquid 8 " Fashion Plate " Boards 73 ,, Slabs 92 Fitch Brushes, Oil 59 ,, ,, Sticks 7 ,, ,, Water . . . 48 India Rubber . 89 Fixative for Pastel, etc. 91 Bottles . . 94 Fixing Sprays 91 ,, ,, Cups 94 Flake White 22, 23 " Ingres " Paper • 65 Florentine Medium • 36 Inks, Coloured 8 Folding Palettes for Oil Colour 95 ,, Copperplate • 113 „ Water ,, Indian ■ 7.8 Colour 14-16 ,, Manuscript 8 „ Rules 122 ,, Pencils 86 Foundation White 23 ,, Ticket 120 Frames . . . . . . 1 17, 122 ,, Waterproof Coloured 8 Fresco Spirit Colours 29 ,, Woodblock • "3 Ivory Boards 74 Gall, Ox 10 ,, Leaves for Miniatures . 116 Geometry Sets . 84 ,, Painting Knives . . . 96 Gesso Powder and Paste 109 Gilders' Materials 6 " J " Pencils 86 Mops 5i Japanese Stencil Brushes 59 Gillott's Pens 121 japanned Tin Bottles and Cup? 18 Glass Medium IO ,, ,, Brush Cases 32 Push Pins 80 ,, ,, Oil Boxes 30. 3i Slabs and Mullers. . 94 ,, ,, Water-colour Glasses for Water 94 Boxes . . . 11-17 O lass-paper Blocks 86 Glitterwax 109 " Kecley Halswelle " Box 15 Gold Bronze 6 " Kemp-Welch " Brush. . 59 ,, Medium 6 Knives, Gilders' . . 6 ,, Edged Cards 73 ,, Mountcutters' . . 97 ,, Ink 6 ,, Painting . 9 6 ,, Leaf 6 Palette . 96 ,, Paint, Ormoline 6 ,, Pocket . . 97 Powder 6 ,, Stencil 97 Shells and Cakes . . 6 ,, Wood and Lino Block . 97 ,, Size 6 Griffes lor Lampshade Paper . 118 Crip Fix 10 Lay Figures 106 Gum Water 10 Lead Wire 1 r 1 Leather Brush Cases 32 Handbooks on Art .. 1 24-126 ,, Stains . 118 Hand-made Papers 60-62 " Leighton " Brushes 55 " Handy " Sketching Case 20 Lenses 107 Harbutt's Plasticine . 108 Lettering Brushes 49, 50 Higgins' Indian Ink 8 ,, Papers. . • 63 Hog Hair Brushes for Oil 52-56 ,, Pens . . . . 1 20, 121 Water Liners' Brushes 49 Colour 45 Linoleum Blocks. . . 114 " Holdfast " Sketching Board . 75 ,, Cutting Materials • "5 Holland Covered Sketch Books 69 Liquid Copal Medium . . • 36 " Hollingworth " Paper. . • 63 Lithographic Chalks and Inks T22 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 PAGE PACE Lithographic Pens 121 Oil Dippers 33 ,, Ruling Pens 82 ,, Gold Size 6 ,, Sable Brushes 43 ,, Sketching Boxes 34. 35 Locket Boxes 17 ,, ,, Paper 41 Lustrene 109 ,, Tablets . . 41 Oils, Varnishes and Mediums . • 36 Machine-made Crayon Paper . . 64 " One Stroke " Brushes 50 Macintosh Cup and Ring 94 ,, Chart 120 Magnifying Lenses 107 ,, Pens . 119 Mahl Sticks in " Opaline " Paper 61 Mahogany Panels 40 " Ormoline " 6 Manuscript Ink 8 ,, Lacquer . . 6 Mapping Pens 121 Medium . . 6 Marble Medium 28, 29 " Orpen " Brushes • 56 Marqueterie Stains . 118 " O.W." Palette 16 Mastic Varnish • 36 Ox-gall 10 Mathematical Instruments .81-84 Ox Hair Brushes, Oil • 58 ,, Scales 81 ,, "One Stroke " 5° Matt Boards 74 ,, ,, Water-colour . . 48 ,, Colours 28, 29 Writers' and Liners' 49 ,, Poster Paper . 64 Medium, Amber . . 26 Packets of Drawing Cards 74 ,, Oil and Varnish • 36 Painting Books . . 126 ,, Parris' Marble. . 28 ,, Knives . 96 ,, Roberson's 29 Palette Knives . . ' . . 96, 97 ,, Spirit Fresco . . • 36 Palettes, Aluminium 15. 93 ,, Water-colour . . 10 ,, China 92 Metal Lay Figure 106 ,, Mahogany, etc. 95 Michallet Boards. . 72 ,, Water-colour . . . 14-16 ,, Paper • 65 Panels, Mahogany 40 " Millais " Brush 55 White Wood 41 Millboards, Prepared 40 Pantagraphs 77 Miniature Boxes . . l 7 Papers . 60-66 ,, Brushes 44, 116 ,, Cartoon . . • 65 ,, Frames • "7 ,, Cartridge . 64 ,, Ivories . it6 ,, Coloured 64, 65 ,, Painter's Desk . 116 Crayon 64. 65 Mirrors, " Claude Lorraine " 107 ,, Drawing 60-66 Model Thrones 99 Etching . 114 Modelling Clay and Wax . 108 ,, Hand-made 60-62 ,, Stands . 108 ,, Lampshade . 118 ,, Tools no ,, Oil Sketching 41 Mops, Camel Hair 5i Pastel • 65 Mountcutters' Knives . . 97 Poster . 64 Mounting Boards 74 ,, Printing . 114 Paste 10 ,, Sectional • 63 Mounts, Cut Out, etc. . . 74 ,, Water-colour . 60-62 Mullers, Glass 94 Parallel Rules 79 Parchment . 116 " Naftel " or Foliage Brush 45 ,, Paper 61 Nests of Saucers 93 Passepartout Materials . . . in Nickelled Telescopic Legs 35 Pastel Boards 72 ,, Papers • 6 5 Officers' Sketching Cases 19 Pastels 90 Oil Bottles for Boxes 32 ,, Fixatif 91 ,, Boxes in Japanned Tin 30-31 Pen and Ink Sketching Case 19 ,, Brush Cases 32 ,, ,, Pencil Block . , 68 ,, Brushes, Hog 52-56 ,, ,, ,, Sketch Book . 70 ,, Sable 57,58 Pencils 85, 86 ,, Colours 2 4- 2 5 ,, Carbon • 85 & 1.55. L5 r > PICCADILLY, W.t, LONDON PAGE PAGE Pencils, Coloured 86 Rules, Folding 122 ,, Propelling 86 ,, School 8l Solid Ink 86 Slide 122 Penholders 121 Ruling Pens 82 Pens, Drawing, etc. . . ] I 9-1 2 I ,, Ruling, etc. 82 Sable Brushes, " Cosway " 44, 116 Persian Black 4 , Fan • • 58 " Phocal " Boards 74 , Liners 49 " Piccadilly " Brush Cases 32 Miniature . . 116 ,, Pencil 86 . . j Oil 57-58 ,, Sketching Case 20 , , , " One Stroke ". . 50 Picture Framing • 123 Poster 49 ,, Wire, etc. • 123 >. > Riggers • • 58 Pinned Boards • 76 ,, , Sky 43 Pins, Canvas 80 Wash 43 ,, Drawing 80 , Water-colour 42-45 Plasticine . 108 1 1 > , Writers 49 Plumb Line III Sauce Velours .. 87 Pocket Easel • 105 Saucers, China 93 ,, Knives 97 ,, Nests 93 ,, Sable Brushes . . 43 Scales, Mathematical 81 ,, Sketching Cases. . . T 9-2 I Scene Painters' Canvas 9 Points, Silver 122 Charcoal Porcelain Baths 92 ,, ,, Colours 9 Portecrayons 88 School Chalks .. 87 Portfolios 75 ,, Rules 81 ,, Sketching • 76 ,, Water-colour Block . . 68 Poster Brushes . . 49 Scrapers, Canvas 97 ,, Colours 5 Sectional Paper . . • • 63 ,, Papers . 64 Set Squares 79 Pouch Brush Case 32 Sets of Mathematical Instrumcnts83, 84 Powder Colours 9 Shoulder Slings . . 35 Powders, Bronze 6, 123 Signwriters' Box 31 Press, Etching 112 ,, Dippers 31 " Press " Sketch Book . . 70 Silhouettes .. 11S Printing Papers . 114 Silver Ink and Shells 6 Process Black 4 Point Materials 122 White 4 Silvered Mirrors . . 107 Proportional Compasses 82 Size, Concentrated 9 Protractors 81 „ Gold 6 Prout's Liquid Brown . . 8 Sketch Blocks ..67,68 Purse Cases 21 ,, Books ..69-71 " Sketcher's " Water-colour Box 14 Quill, Camel Hair 47 Sketching Bags . . 107 Mops 51 ,, Boards .. 76 ,, Pens 121 ,, Boxes, Wood 3n . .34. 35 ,, Sables 42, 43 ,, Cases, Pocket . . 19-21 ,, Charcoal 88 Raising Preparations 6 ,, Easels. . • • 103 Red Handle Hogs 54 ,, Portfolios . . 76 Reducing Lenses 107 ,, Stools •• 105 Reed Pens 121 ,, Umbrellas . . 104 Rest Sticks in Sky Brushes, Camel .. 46 " Reynolds " Palette . 96 Ox Hair 43 Riband Rule 82 Sable . . 46 Rigger Sable Brushes • 58 Slant Well Tiles . . 92, 93 Rims, Miniature • "7 Slide Rules 122 Road Pen 82 Smocks, Artists' . . 122 Rubber . 89 Soehnee Varnishes • • 36 ,, Cups and Bottles . 94 " Solid Ink " Pencils 86 C. ROBERSON Sc CO., LTD., 99 LONG ACRE, W.C 2 Solid Sketch Books 69 Special Sketch Books 7i Spirit Frescoe Colours . . 29 ,, Leather Stains 118 Sponge Brushes 47 Sprays for Fixative 9i Spring Bows 83 Stains, Leather 118 ,, Marqueteric 118 Standing Easels 103 Stencil Books 125 ,, Brushes . . 59 ,, Knives 97 ,, Paper 66 Stool Easel 104 Stools, Sketching 105 Straight Edges 78 Strainers, Canvas 37 Stretchers, Canvas 40 Students' Water-colour Boxes 13. 14 Studio Cabinets . . 99 ,, Easels IOI ,, Seats 99 " Studio " Sketch Book 7i Stuffed Lay Figures 106 Stumping Chalk • 87 Palette . 89 Stumps 91 T Squares • 78 Table Easels . 98 Tablets, Aquarelle 72 ,, ,, Tinted 72 Oil Sketching . . 4 t Taurus Brushes, Oil • 58 ,, ,, " One Stroke " 50 ,, ,, Water-colour 48 ,, ,, Writers ant I Liners 49 Telescopic Legs 35 Tempera, Dry Colours for 9 Palettes 93 Thrones 99 Ticket Boards 74 ,, Brushes . . 49, 50 ,, Inks 120 ,, Pens . 119 Tin Brush Cases . . 32 ,, ,, Washers 3i ,, Dippers 33 Tinted Aquarelle Tablets 72 ,, Cartridge Papers 64, 65 ,, Hand-made Paper 62 Tinting Saucers 93 Tools for Lino Cutting . . • 115 Tortillons 91 Tracing Cloth 66 ,, Papers 66 Transfer Papers 66 PACE Transparent Celluloid Rules . . 81 ,, ,, Set Squares 79 Triple Drawing Boards . . . . 77 Tube Boxes for Water Colour Turck's Medium Umbrellas " V " Spring Water-colour Boxc " Vandyck " Eraser Varnishes, Oils and Mediums . Varnishing Brushes " Vegetal " Tracing Paper Vellum ,, Paper Venetian Charcoal " Vibert's " Varnishes . . Vine Charcoal W-15 10 104 L3 89 36 56 66 116 61 88 36 88 Wash Brushes, Camel . . ,, ,, Sable Water Bottles and Cups Water-colour Boxes Brushes . . Brush Cases Desk Fitch Brushes Folding Palettes Hog Brushes Ichneumon Brushes Mediums Papers Pattern Hogs Sables School Block Sketch Blocks Sketch Books Tablets . . Taurus Brushes . . ,, Colours Water Glasses Waterproof Drawing Inks ,, Leather Stains Wax for Modelling Whatmans' Boards ,, Papers ,, Sketch Blocks ,, ,, Books ,, Solid Sketch Books White Drawing Papers White Wood Handle Hogs ,, ,, Panels Willow Charcoal Wire Armatures . . . . . . 1 1 r Wood Block Cutting Materials 1 1 4-1 1 5 Wooden Drawing Boards . . 77 ,, Lay Figures . . . . 106 ,, Sketching Boxes 34~35 Writers' Brushes . . . . . . 49 46 43 18 n-17 42-51 32 14-16 45 48 10 .60-66 • 55 • 42-45 68 . 67, 68 69, 71 72 . 48 • 2, 3 94 8 . 118 . 108 72 61 67 69 69 63 54 4i Zinc Plates for Etching "3 & 155. 156 PICCADILLY, W.t, LONDON A Note on the properties, qualities, and chemical composition of the Colours prepared for Artists' use by C. ROBERSON & CO., LIMITED. BLUE PIGMENTS \ Ferro-prussiate of Alumina, similar to Prussian Blue, of J a cooler tone. I. Stannate of Cobalt, permanent, dense body, useful as I a water colour. Oxide of Cobalt with Alumina ; a very carefully pre- pared and fine variety of this pigment is used ; per- manent. ^ A mixture of Cobalt and Prussian Blue. It is a J brilliant colour, very useful as a water colour. Antwerp Blue Blue Mineral Cerulean Blue Azure Blue . Blue Celeste . Cobalt . Cyanine or Leitch's Blue French Ultra- marine French Blue . Bleu Outremer French Ultra- marine, Fxtra Fine Indigo . Intense Blue Permanent Blue New Blue Prussian Blue Artificial Ultramarines, Silicates of Alumina ; manent and generally safe for mixing. per- Sky Cobalt Smalt . Ultramarine, Gen- uine, Nos. 1 to 9 Ultramarine Ash . Ultramarine Grey f A very pure and brilliant preparation of Artificial J Ultramarine, the original and genuine pigment prepared I according to the formula of the celebrated chemist I Guimet ; is permanent. Extract of the Indigo plant ; is fairly permanent in water colour, but less so in oil. An intensified form of Indigo ; a much deeper and stronger colour. ■ Artificial Ultramarines of different shades ; permanent. Ferric Ferrocyanide of Potassium ; a transparent blue of great force and richness, works well in oil and water colour ; fairly permanent. A paler shade of Cobalt, only used as a water colour. Fused Silicate of Cobalt and Potassium ; a deep rich blue ; permanent. r An extract of the finest blue Lapis Lazuli. The pure blue of Genuine Ultramarine approaches more closely than any other pigment to the true blue of the Solar Spectrum, and shows much less violet than the artificial Ultramarine. It has a very transparent quality when ■ used as an oil colour. This colour was much used by the old masters, and proof of its permanence can be witnessed in their works. Messrs. Roberson have a large stock of these Ultramarines, ranging from the deep pure Blue No. i to the delicate and subtle tones >. of the Ash and Grey. C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 Alizarin Yellow Aureolin or Cobalt Yellow Brown Ochre Cadmium Mutrie Yellow Extra Pale, Pale Middle, Deep, Orange Red Cadmium Chinese Orange Chrome Yellow Gallstone Gamboge Golden Ochre Transparent Gold- en Ochre . Indian Yellow (Genuine) Indian Olive Italian Pink . Jaune Brilliant Lemon Yellow Lemon Yellow, Deep Mars Yellow Mars Orange YELLOW PIGMENTS Lake prepared from artificial Alizarin, of a rich golden tint ; permanent. \ Nitrate of Potassium and Cobalt ; is permanent. The J best substitute for Gamboge as an oil colour. Native Oxide, deeper in tone than Yellow Ochre ; is permanent. Sulphide of Cadmium. Roberson's Cadmiums ranging in tones of seven shades, from the palest " Mutrie Yellow" to the deepest Cadmium Red, are the finest, and most permanent obtainable. An artificial preparation of Alizarin, fairly permanent. Chromate of Lead. In oil these colours are fairly per- manent, but may be affected by impure air or sulphuretted hydrogen. In water colour they are liable to change and blacken. The genuine Gallstone pigment being fugitive, an artificial Madder is now substituted ; it is fairly per- manent. A resinous Gum from Siam. In water colour this pig- ment is fairly permanent ; in oil it is liable to become brown. As a substitute in this medium, Aureolin or Alizarin Yellow should be used. Native Oxide, of a very rich transparent golden colour ; permanent. Purree (Urio-phosphate of Lime) from India. In its highly refined and carefully prepared form, as supplied by Messrs. Roberson, this colour is not only an ex- ceedingly valuable one, but should also be considered „ a permanent pigment. A variety of Indian Yellow of a greenish olive hue. Lake prepared from Quercitron ; not permanent. A variety of Artificial Naples Yellow, slightly pinkish in tone. Barium Chromate ; permanent. J- A permanent preparation of Chromate of Strontium. J- Artificial Oxides of Iron ; permanent. & 155, 156 PICCADILLY, W.i, LONDON Yellow Pigments — continued Naples Yellow, Genuine Naples Yellow, Pale, Middle, and Deep . Italian Naples Yellow French Naples Yellow Orange Madder Orange Lake Raw Sienna . Roman Ochre Strontian Yellow Yellow Ochre Yellow Ochre Special Quality Yellow Lake . ' Antimoniate of Lead, not now easily procurable, but is still supplied by Messrs. Roberson as an oil colour, filled in the small bladders as originally used by them for oil colours, before the invention of the modern metallic tubes. On account of the chemical action of this colour on tin, it is liable to change if put in metal tubes. Considered per- manent if carefully used and not mixed with iron colours. Artificial preparations of the above, in five shades, considered fairly permanent in oil colour. Zinc White should, however, be used for mixing, in preference to the Lead White. An artificial Alizarin ; fairly permanent. An orange pigment prepared from Alizarin ; fairly permanent. Native Oxide. The original pigment has been care- fully selected to obtain a richer and more transparent tint than is usually sold under this name ; per- manent. A variety of native Oxide ; permanent. Strontian Chromate, a colour somewhat similar to Lemon Yellow, of a slightly greenish shade ; fairly permanent. Native Oxide, the genuine original Oxford Ochre, of which Messrs. Roberson still hold a considerable stock ; permanent. This colour is prepared from selected pigment carefully picked from the bulk of the original native Ochre, and is much brighter and more transparent than the usual Yellow Ochre ; is quite permanent. Lake prepared from Quercitron ; is not permanent. Alizarin Crimson Permanent Grim- son Alizarin Scarlet Arrabida Red Burnt Carmine Burnt Golden Ochre Burnt Roman Ochre Burnt Sienna Cadmium Red Cadmium Scarlet. RED PIGMENTS These pigments are Lakes prepared Alizarin, and are considered permanent. from artificial Native Ferric Oxide from the vicinity of Arrabida, in Portugal ; permanent. Carmine deepened in hue by calcination. \ Calcined native Ochre ; permanent. J- As above. Calcined native earth, a Peroxide of Iron ; permanent. \ Mixtures of Cadmium and Selenium Sulphides ; these / colours are permanent and are brilliant opaque reds. C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C. Red Pigments — continued Carmine Crimson Lake Chinese Vermilion Dragon's Blood . Geranium Lake Indian Lake . Indian Red . Light Red Red Ochre Rouge Anglais Mars Red Scarlet Lake. Refined Cochineal, a brilliant colour, but fugitive. Lake prepared from Cochineal, is fugitive. Alizarin rimson so nearly approaches this colour, there is o lo: Lake. I Cr I no longer a reason for artists to use the Cochineal A preparation of native Cinnabar imported from China, of a deep soft red colour. A resinous pigment, principally used for staining or toning varnishes ; not permanent. An extremely brilliant artificial Lake ; fugitive. Lake of good purple colour prepared from East India Lac. Oxide of Iron, a very strong and penetrating pigment of a purplish shade ; is permanent. :/ Madders Laques de Garance Rose Madder Pink Madder Crimson Madder . Madder Carmine . Madder Lake Purple Madder Madder Red Garance Fonce Rose doree . Rubens' Madder Rembrandt's Madder Terra Rosa . Pouzzole Red Scarlet I Vermilion Scarlet Vermilion Extract of Ver- milion Orange Vermilion Venetian Red Calcined native Ochre, a useful colour ; permanent. An artificial Ferric Oxide ; permanent. A preparation of Lake and Vermilion. A beautiful range of pigments, prepared from genuine Madder Root, considered thoroughly per- manent, and may be freely used for mixing (some of them are, however, liable to change if exposed to direct sunshine). A rich deep colour. The most brilliant and permanent of all the Madders. A pale tint, very clear and transparent, a genuine Madder. A strong, rich colour ; permanent. J- The deepest uf the red Madders, a most useful colour. 1'ale transparent Madder of a slightly yellowish tone. Medium shade, slightly orange. m I Deeper shade of brownish orange tone. . ) Native earth from Italy, a delicate and pinkish shade . J of Red Ochre ; permanent ; useful in oil for flesh. Iodide of Mercury, an extremely vivid scarlet colour but very fugitive ; on this account, Scarlet Vermilion is usually supplied in its place. Sulphides of Mercury. The colours range in tone from the deep Vermilion to the pale Extract and Orange. All are permanent in oil colour, but in water colour, if exposed to strong sunlight or impure air, are liable to become dull or even to blacken. Mixes well and is permanent. Native Ferric Oxide. 155. x 56 PICCADILLY, W.i, LONDON Alizarin Violet Cobalt Violet Mars Violet . Mauve . Violet Carmine VIOLET PIGMENTS Preparation of artificial Alizarin. Phosphate of Cobalt ; very beautiful in colour and permanent ; two shades, light and deep. Ferric Oxide ; permanent. Prepared from Aniline ; fugitive. A preparation of Cochineal Lake. A very rich intense colour, but not permanent. GREEN PIGMENTS Alizarin Green Chrome Green, Pale, Middle, and Deep . Cinnabar Green, Pale, Middle, and Deep . Cobalt Green Pale and Deep Emerald Green Emerald Oxide of Chromium Viridian Vert Emeraude Green Oxide of Chromium Hooker's Green, Nos. 1 and 2 Malachite Olive Green . Sap Green Sunny Green Terre Verte . Verdigris Veronese Green Viridian An artificial Alizarin ; fairly permanent. I Alizarin lakes imitating but more permanent than the , mixed colours, containing Chrome Yellow and Prussian Blue. containing Used only as oil colours. Similar to the above. J ( Combinations of the Oxides of Cobalt and Zinc ; per- - manent. The pale Cobalt Green is a very beautiful \ and useful colour. Aceto-Arsenite of Copper. A bright opaque green, fairly permanent in oil colour and without action on the majority of other pigments. It should be carefully kept from contact with mixture containing Cadmiums which it will blacken. In water colour it is fairly permanent. \Hydrated Chromium Sesquioxide. An exceedingly . useful pigment, very transparent, quite permanent, and safe for mixing with all colours. Chromium Sesquioxide. body ; permanent. An opaque green, of great ) Preparations of Green Alizarin, prepared only in water / colour ; fairly permanent. Prepared from the native mineral, is fairly permanent as an oil colour, but not very safe as a water colour. A mixed green, stands well as a water colour under ordinary conditions, but is liable to fade if exposed to direct sunshine. Vegetable extract, prepared in water only. A prepara- tion of Alizarin being used in oil. Combination of Oxide of Chromium and Chromate of Barium ; permanent. Native earth or Ochre of a green tint ; permanent. Acetate of Copper. A deeper shade of Emerald Green. Synonymous with Emerald Oxide of Chromium. C. ROBERSON & CO., LTD., 99 LONG ACRE, W.G.2 Asphaltum Bistre . Bitumen Bone Brown Brown Madder Brown Pink . Brown Red . Burnt Umber Caledonian Brown Cologne Earth Cappagh Brown Mars Brown Mummy Raw Umber Sepia . Vandyke Brown Verona Brown, Nos. 1, 2, and 3 BROWN PIGMENTS Mineral Pitch, very seldom used in recent years. A Wood Soot preparation, used largely as a water colour for monochrome work. A preparation similar to Asphaltum. Calcined Bone Dust ; fairly permanent ; transparent. Prepared from the Madder Root, useful in oil and water colour ; fairly permanent. Lake prepared from Quercitron ; not permanent. Deep Red native Oxide ; permanent. Calcined Raw Umber ; permanent. A combination of native Oxides ; permanent. Native earth of a dark brown colour ; permanent. Oxide of Iron and Manganese. A native earth from Cappagh in Ireland, purchased many years ago and now no longer obtainable, of a cool dark brown colour. Most useful, and a good drier ; per- manent. Artificial Ferric Oxide ; permanent. A pigment prepared by grinding together the Bitumen and Bones of an Egyptian Mummy ; the bitumen being of a very pure quality and kept dry for over 3,000 years, has apparently acquired drying qualities which enable this extremely rich, deep, and transparent brown to be used with safety and far less liable to move on the canvas than Asphaltum. Oxide of Iron and Manganese. The genuine native earth from Cyprus, of which only pieces of care- fully selected tint are used. This Umber has the peculiar greenish hue so much valued by artists ; permanent. Extract of the pigment matter from the ink bags of the cuttle-fish ; fairly permanent. Native earth of a good brown colour, not so in its drying qualities as Cappagh Brown ; fairly per- manent. C Prepared from the genuine Terre Verte by calcination. -! No. 1 is the greener shade and No. 3 the deeper [ brown ; permanent. & 155, 156 PICCADILLY, W.i, LONDON Blanc d 'Argent or Silver White Flake White . Cremnitz White Roberson's Per- manent Flake White Foundation White WHITE PIGMENTS \ A fine quality of Carbonate of Lead. Zinc White . Chinese White A compound of Hydrate and Carbonate of Lead. For further description of the special qualities of this White as prepared by Messrs. Roberson, see pages 22 and 23 of this Catalogue. White Lead as prepared by Messrs. Roberson & Co. is a speciality ; it is intended more particularly for use by the artist as an additional priming for canvases or panels ; it dries with a dead Matt surface which bears out well, gives good texture, and is very agreeable for painting upon. f Oxide of Zinc, the most permanent of the Whites in . I both oil and water ; known as Chinese White in water . "| colour. Lacks body in oil, but best possible white I for water colour. Charcoal Grey Neutral Tint and Paynes' Grey Blue Black . Black Lead . Ivory Black Lamp Black Persian Black BLACK PIGMENTS A preparation of selected Charcoal. \ Mixed colours prepared from permanent Crimson and / Indigd. Bluish shade of Ivory Black. Prepared Graphite. Calcined Ivory. Carbon Black of fine quality. A pure neutral Black, made solely by Messrs. Roberson & Co. It washes perfectly, giving remarkably fine silvery greys graduating to a very dense colour. It is invaluable for drawings intended for repro- ductions by the half-tone process ; quite permanent and safe for mixing. Prepared in water only. C. ROBERSON & CO/ Superfine Water Colour; Whole Tube 99.LONO ACHK LONDO N Whole Cake |*UREOUH Half Tube "»»»** Whole Pan The Composition and Properties of the following Colours will be found on pages xi-xvii. SERIES I. Whole Cakes, Pans, or Tubes, Is. each ; Half Cakes, Half Pans, or Half Tubes, 7d. each ; Large Tubes, 3s. 6d. each. Antwerp Blue. Bistre. Blue Black. Brown Ochre. Brown Pink. Brown Red. Burnt Sienna. Burnt Umber. Caledonian Brown. Cappagh Brown. Charcoal Grey. Chrome Deep. Chrome Lemon. Chrome Orange. Chrome Yellow. Cologne Earth. Constant White. Dragon's Blood. Emerald Green. Flake White. Gamboge. Golden Ochre. 1 looker's Green, No. i and No. 2. Indian Red. Indigo. Italian Pink. Ivory Black. Jaime Brilliant. Lamp Black. Light Red. Mauve. Mineral Grey. Naples Yellow. Neutral Tint. New Blue. Olive Green. Payne's Grey. Peach Black. Permanent Blue. Persian Black. Prussian Blue. Prussian Green. Purple. Raw Sienna. Raw Umber. Red Lead. Roman Ochre. Sap Green. Terre Verte. Vandyke Brown. Venetian Red. Yellow Lake. Yellow Ochre. SERIES II. Whole Cakes, Pans, or Tubes, Is. 6d. each; Half Cakes, Half Pans, or Half Tubes, 9d. each ; Large Tubes, 5s. 3d. each. Alizarin Crimson. Alizarin Green. Alizarin Scarlet. Alizarin Violet. Alizarin Yellow. Brown Madder. Chinese Orange. Crimson Lake. Cyanine Blue. Geranium Lake. Indian Lake. Indian Olive. Indian Yellow. Mars Brown. Mars Red. Mars Yellow. Orange Lake. Purple Lake. Roman Sepia. Scarlet Lake. Sepia. Sunny Green. Terra Rosa. Turner Brown. Vermilion. Veronese Green. Warm Sepia. Yellow Ochre, special quality. C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.z 3 SUPERFINE WATER COLOURS— continued SERIES III. Whole Cakes, Pans, or Tubes, 2s. each ; Half Cakes, Half Pans, or Half Tubes, Is. each; Large Tubes, 7s. each. Cadmium, Deep. Cadmium, Extra Pale. Cadmium, Orange. Cadmium, Pale. Cadmium, Yellow. Cerulean Blue. Chinese Vermilion. Cobalt Blue. Cobalt Green. Cobalt Green, Deep. Emerald Oxide of Chromium. French Ultramarine. Green Oxide of Chromium. Do. Transparent. Lemon Yellow. Lemon Yellow, Pale. Mars Orange. Orange Madder. Orange Vermilion. Scarlet Vermilion. Sky Cobalt. Strontian Yellow. Viridian. SERIES IV. Whole Cakes, Pans, or Tubes, 3s. each ; Half Cakes, Half Pans, or Half Tubes, Is. 6d. each ; Large Tubes, 10s. 6d. each. Aureolin. Burnt Carmine. Cadmium, Red. Carmine. Crimson Madder. Dahlia Carmine. Deep Rose Madder. Field's Extract of Ver- milion. French Ultramarine, extra fine. Gallstone. Indian Yellow. Intense Blue. Madder Carmine. Madder Lake. Madder Red. Malachite Green. Mars Violet. Mutrie Yellow (Primrose Cadmium). Pink Madder. Purple Madder, extra quality. Rembrandt Madder. Rose Doree. Rose Madder. Rubens Madder. Scarlet. Scarlet Madder. Ultramarine Grey. Violet Carmine. Violet Cobalt, Deep. Violet Cobalt, Pale. Yellow Madder. SERIES V. Whole Cakes, Pans, or Tubes, 5s. each ; Half Cakes, Half Pans, or Half Tubes, 2s. 6d. each. Ultramarine Ash. Smalt. GENUINE ULTRAMARINE Whole Cakes, Pans, or Tubes, 21s. each; Half Cakes, Half Pans, or Half Tubes, 10s. 6d. each. MOIST WATER COLOURS In Large Tubes. ,„...»».-. .„ , ^ All colours are supplied in tubes of the capacity of four of the ordinary whole tubes at three and a half times their price. Artists purchasing these tubes there- fore effect saving in cost. SLOW DRYING MOIST WATER COLOURS These colours are specially prepared to remain moist and workable on the palette, even under exposure to excessive heat of the sun ; they are therefore particularly serviceable for use in hot and dry climates. Supplied in whole and half tubes only, at same prices as ordinary. C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 A beautiful dense white pig- ment made of Pure Oxide of Zinc. s. d. Bottles . . each 6d. and 1 Single Tubes . . each 6 Double Tubes, as Illustration . . ,, 10 Large Tubes, as Illustration page 3 ,, 19 C ' R 0BER8ON4C B c «t!?BBB Will**' . — 99 — .i^ACRE, LONDON, l*^t -fcs. Is. Tube. Is. Bottle. Recommended to artists desiring to obtain best results in Reproductions. Bottles each 6d., Is., and 2s. Binfield's Persian Black A unique Water-colour Black for all Process Reproduction work ; washes perfectly, giving fine gradations from dense black to silvery grey. s. d. Tubes, single each 1 Tubes, large, as Illustration page 3 . . . . . . ( 4 6 A perfect Black for the Process Worker, being a pure pigment of great intensity and from its opacity to be recommended for blocking out on photo negatives. s. d. Bottles, size as illustrated above . . . . . . ..08 ,. larger 1 3 Blanc d 'Argent (Lefranc). Small bottles, Is. 3d. Large bottles, 2s. 6d. & 155. 15^ PICCADILLY, W.i, LONDON C. ROBERSON & CG. ? Poster Colours In 1 oz. and 2 oz. Screw-capped Pots. Ros ter co LQlff Zinc White Actual Size of 2 o,?. Po/. These Poster Colours are carefully prepared Body Water Colours, and, as well as their use for opaque work on coloured papers, they may be used instead of water colours where the superfine quality of a hand-ground pigment is not required. They are remarkable for their easy manipulation and also for the way in which they retain their condition in bulk. N.B. — When reduced with water to the correct consistency, these colours work well in the Air Brush. SERIES I. Is. 6d. per 2 oz. Pot ; lOd. per Double 4 in. Tube ; Antwerp Blue. Burnt Sienna. Burnt Umber. Chrome Deep. Chrome Light. 9d. per Chrome Orange. Green Light. Green Middle. Green Deep. Indian Red. oz. Pot. Indigo. Ivory Black. Light Red. Pale Ultramarine. Raw Sienna. Raw Umber. Vandyke Brown. Yellow Ochre. Zinc White. SERIES II. 2s. 6d. per 2 oz. Pot ; lOd. per Single 4 in. Tube Is. 3d. per 1 oz. Pot. Cobalt. Geranium Lake. Ultramarine. Violet. Crimson Lake. Turquoise Blue. Vermilion Red. Actual Colour Chart will be sent on application. C. ROBERSON & CO., LTD., oo LONG ACRE, W.C.2 3Uumination, fliMssal anfc iberalMc painting l s. d. Mahogany Box, containing 8 prepared Heraldic Colours in covered pots, Gold, Aluminium, Sable Brushes, Burnisher, Gum Water, Ox Gall, etc. etc. .. .. .. .. .. complete 1 11 6 Do. do. Larger Boxes, containing 12 Colours, etc. etc. from 2 2 GOLD AND SILVER SHELLS, Etc. d. 2 Gold Shells each 5d., 7d., 10d., and s. 1 Gold Cakes, Solid, in Pans . . . . . . . . . . . . each 6 6 Silver and Aluminium Shells .. 3 Do. do. Cakes, Solid, in Pans.. .. Aluminium Is.; Silver 1 (> Gold and Silver Ink, in Bottles . . . . . . each 7id. and 1 Gold Powder, Pure . . . . . . . . . . . . per packet 10 6 Aluminium Powder .. .. .. .. .. .. ,, 1 Bronze de Paris, extra fine . . . . . . . . . . ,, ,, 2 Bronze Powders, Fine, Gold, Silver, Crimson, Orange, Green, etc. ,, 1 Do. Pale, Middle, and Deep Gold, in Glass Tubes . . per tube 1 Gold Leaf, Finest English . . . . . . per book of 25 leaves 2 9 Do. Transfer .. .. .. .. ,, ,, 25 ,, 3 Water Gold Size . . . . . . . . . . per pot or bottle 1 Raising Preparation, for Impasto Gilding in Illuminating per bottle 1 Agate Burnishers, Pointed, Dogstooth, and Club . . each Is. 6d. to 5 Ormoline, a New Gold Paint ready mixed, the nearest approach to s. d. Gold Leaf . . . . . . . . . . . . . . per bottle 1 Do. do. Silver .. 1 Do. do. Lacquer .. .. .. .. .. ,, ,, 9 Do. do. Medium, for applying Bronze Powders . . ,, 10 Gilders 5 Materials Oil Gold Size . . per lb. s. 6 d. Gold Size, Burnish 3 Matt . . , , 2 3 Japan per bottle <> Gilders' Clay Chrome, per lb. 1 3 Gilders' Cushions . . each 7 (» ,, Knives . . 3 3 ,, Burnishers, Agate and Flint . . ,, 5 6 For Gilders Camel Hair Mops, Tips, 1 He, see page 51. & i55. L5 r > PICCADILLY, W.i, LONDON Best Genuine Nankin Inks (INDIAN INK) No. 29. Super Super, large square 8. Large Gilt Dragon 7. Large Hexagon 7<7. Small do. 13. Bamboo 15. Round Dragon, ('.ill Lion Top 6. Square Loom Get. Small Loom . . 12. Flat Pearl 2a. Round . . 9. Round Gilt 3. Lion Top 25. Small Gilt Oblong 1. Small Oval 33. Flat (genuine) 32. Small Square (genuine Number of Sticks Per to the Stick. 1 lb. packet. s. d. 12 3 IO 3 8 2 6 16 1 3 20 2 20 2 20 2 3-* 1 6 40 1 40 1 40 1 40 6 80 6 80 6 40 4 80 2 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 arson s flVSMMk.. ROBERSON'* NNATEUPROOF *LM>NG ACRE LONO- ENCU \ oz. Bottle. 1 oz. Bottle. Blue. Indigo. Pink. Slate Grey Brown. Lemon Yellow. Purple. Violet. Carmine. Light Green. Scarlet. White. Deep Green. Orange. Sepia. Yellow. ROBERSON'S LIQUID INDIAN INK (WATERPROOF) ROBERSON'S MANUSCRIPT INK (NON-WATERPROOF) The above Inks in Bottles at the undermentioned prices. s. d. s. d. loz 71 30Z 2 3 per doz. 6 9 6 oz. . . . . . . . . 4 6 1 oz. (Quill Cork Stopper) .. 10 10 oz. (J pint) .. .. 6 6 per doz. 10 6 20 oz. (1 pint) . . . . 12 These Inks may be diluted with distilled water. Higgins' Indian Tnk in Higgins' General Inks Prout's Liquid Brown I oz. Bottles 5. d. per bottle 1 6 „ „ 16 ,. „ 10 & 155. 156 PICCADILLY, W.i, LONDON Artists 5 Powder Coloers Ground extra fine. For OIL, WATER, and TEMPERA PAINTING, etc. etc. F Hied into Glass Tubes sice of illustration. 6d. each. 9d. each. Is. 6d. each. Blue Black. Alizarin Crimson. Emerald Oxide Chro Burnt Sienna. Alizarin Yellow. mium. Burnt Umber. Chrome Yellows. Flake White. Brown Pink. Crimson Lake. Emerald Green. Lemon Yellow. Orange Vermilion. Oxide of Chromium. Golden Ochre. Italian Pink. 2s. each. Indian Red. Prussian Blue. Aureolin. Ivory Black. Yellow Lake. Cadmiums. Lamp Black. Light Red. Naples Yellow. Is. each. Brown Madder. Carmine. Crimson Madder. Deep Rose Madder. Extract Vermilion. Raw Sienna. Cerulean Blue. French Ultramarine Raw Umber. Chinese Vermilion. (extra fine). Tcrre Vertc. Vandyke Brown. Venetian Red. Yellow Ochre. Cobalt. Cyan inc. French Ultramarine. Scarlet Vermilion. Indian Yellow (genuine) Madder Red. Mutrie Yellow. Pink Madder. Rose Madder. Zinc White. Vermilion. These and all other Colours mentioned on pages 2 and 3 are supplied in fine powder by weight. Messrs. Robcrson (X: Co. hold an extensive range of beautiful shades of Genuine Ultramarine in fine powder. In Dry Powder. Maroon Lake Night Blue Orange Red Permanent Red Rose Special Deep Green Ultramarine Vandyke Brown Violet Lake Yellow Ochre Black Bine (three shades) Brown Ochre Burnt Sienna Burnt Umber Carmine . . Chrome Yellow (three shades Crimson Lake Dutch Pink Emerald Green Green (three shades) .. Concentrated Powder Size for mixing colours, Is. per lb. Scene-painting Canvas, prepared ready for use, 7d. per square foot fe C. ROBERSON & CO., LTD., 90 LONG ACRE, W.C.J t], lM i 1 '■■"■' > " Fitted with Water Colours in Whole or Half Cakes. Messrs. C. Roberson & Co. have always in stock on selection an extensive variety of slide-top and other pattern boxes containing from six to twenty- four colours and other necessary fittings. Mediems, Etc<, 5 for Water-colour s. d. per bottle 6 per bottle 7M. and Prepared Gum Water Prepared Colourless Ox Gall Prepared Ox Gall, Paste in Covered Pots per pot Glass Medium, Nos. 1 and 2. This preparation used with the Colours, either with or without water, enables them to lie smoothly, strengthens and gives depth . . . . . . . . per bottle Water-colour Medium, for strengthening and giving depth to colour .. .. .. .. .. .. .. per bottle Water-colour Medium, Slow Drying Turck's Aquarella Medium Roberson's Mounting Paste Grip Fix, with Brush, in Aluminium Container per tube 1 1 () 1 (> 1 (> 9 1 6 & 155. 156 PICCADILLY, W.i, LONDON New Patent Japanned Tin Boxes Fitted with Moist Colours in China Pans. The advantage of these boxes is that the Colours are securely held in their places by a fixed spring, while they can be taken out or their positions changed with the greatest facility. The selection of Colours is that in general use by Water-colour Artists, but any alteration may be made to suit requirements of purchaser, and price regulated in accordance. Fitted complete. s. d. 9 9 4 Pan Box : Gamboge, Venetian Red, Antwerp Blue, Vandyke Brown 6 Pan Box : Gamboge, Raw Sienna, Venetian Red, Crimson Alizarin, Vandyke Brown, Prussian Blue . . . . 12 9 Do. do. Half Pans 9 6 8 Pan Box : Gamboge, Yellow Ochre, Burnt Sienna, Light Red, Crimson Alizarin, Vandyke Brown, Cobalt, Indigo. . 15 6 Do. do. Half Pans ..119 10 Pan Box : Gamboge, Yellow Ochre, Burnt Sienna, Venetian Red, Crimson Alizarin, Vandyke Brown, Hooker's Green, Antwerp Blue, Cobalt, Ivory Black . . . . . . 18 6 Do. do. Half Pans 13 9 Empty. s. d. 6 6 9 8 6 12 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 JAPANNED TIN MOIST COLOUR BOXES— continued Fitted, complete. Empty. 12 Pan Box : s. d. s. d. Gamboge, Yellow Ochre, Raw Sienna, Light Red, Burnt Sienna, Crimson Alizarin, Hooker's Green, Vandyke Brown, Vermilion, Antwerp Blue, Cobalt, Ivory Black 21 6 9 9 Do. do. Half Pans 15 6 9 14 Pan Box : Gamboge, Yellow Ochre, Raw Sienna, Light Red, Burnt Sienna, Crimson Alizarin, Hooker's Green, Brown Madder, Vandyke Brown, Emerald Green, Permanent Blue, Cobalt, Antwerp Blue, Ivory Black .. . . 23 3 10 Do. do. Half Pans.. 17 9 6 16 Pan Box : Gamboge, Yellow Ochre, Raw Sienna, Light Red, Burnt Sienna, Rose Madder, Crimson Alizarin, Vermilion, Brown Madder, Vandyke Brown, Hooker's Green, Emerald Green, Permanent Blue, Cobalt, Antwerp Blue, Ivory Black 27 9 10 9 Do. do. Half Pans 19 6 10 3 18 Pan Box : Lemon Yellow, Gamboge, Indian Yellow, Yellow Ochre, Raw Sienna, Burnt Sienna, Light Red, Rose Madder, Crimson Alizarin, Brown Madder, Vandyke Brown, Hooker's Green, Emerald Green, Vermilion, French Ultramarine, Cobalt, Antwerp Blue, Ivory Black . . 33 6 11 6 Do. do. Half Pans 22 9 110 20 Pan Box : Lemon Yellow, Indian Yellow, Yellow Ochre, Raw Sienna, Cadmium, Light Red, Indian Red, Rose Madder, Crimson Alizarin, Burnt Sienna, Vandyke Brown, Brown Madder, Vermilion, Emerald Green, Green Alizarin, French Ultramarine, Cobalt, Antwerp Blue, Indigo, Ivory Black 37 12 Do. do. Half Pans 24 6 11 3 22 Pan Box : Selected list as in 20 Pan Box, with the addition of Raw Umber and Emerald Oxide of Chromium .. . . 40 12 6 Do. do. Half Pans 26 3 11 9 & i 5 5, 156 PICCADILLY, W.i, LONDON 13 JAPANNED TIN MOIST COLOUR BOXES— continued 24 Pan Box : Aureolin, Yellow Ochre, Indian Yellow, Orange Cad- mium, Light Red, Indian Red, Raw Sienna, Burnt Sienna, Rose Madder, Crimson Alizarin, Brown Madder, Vandyke Brown, Raw Umber, Vermilion, Emerald Green, Emerald Oxide of Chromium, Ali- zarin Green, Sunny Green, Cobalt Green, Cobalt, French Ultramarine, Antwerp Blue, Indigo, Ivory Black Do. do. Half Pans Fitted complete. 4". (/. 44 29 Empty. s. d. 13 12 30 Pan Box : Selected List as in 24 Pan Box with addition of Purple Madder (extra fine), Violet Cobalt, Orange Vermilion, Sepia, Burnt Umber, Carmine . . .. .. . . 57 15 3 Do. do. Half Pans 36 6 14 6 N.B. — For Boxes made in Polished Albata, refer to page 15. For Moist Colours in China Pans. Made on the same principle and pattern as the best, but not with the same high finish. Half Pans fitted with Whole Pans. Half Pans. Artists' Colours. s. d. 10 6 s. d. 5. d. To hold 8 .. 4 6 3 9 ,, 10 . . 5 4 12 . . 5 6 4 3 ,, 14 •• 6 4 (> 16 .. 6 3 4 9 18 .. 6 9 5 6 ,, 20 . . 7 9 6 ,, 24 .. . 10 (> 14 3 18 To hold Price 2 6 u Half Pans only. 10 12 M 16 18 20 2 4 s. d. s. d. s. d. s. d. s. d. s. d. s. d. 2 9 3 3 3 3 6 3 9 4 4 3 M C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 For Water Colours in Tubes. Space for Brushes, and with Folding Palette Lid. Box fitted with Folding Palette Lid " A," with hollowed wells and divisions for Colours. s. d. s. d. s. d. s. d. 10 6 13 15 6 18 To hold . . . . . . . . 12 15 20 24 Tubes Palette Lid only 6 6 76 86 96 Box fitted with Folding Palette Lid " B," with hollowed wells and square divisions for Colours, Hinged Cover to Thumb Hole. s. d. s. d. s. d. s. d. s. d. s. d. s. d. 16 6 20 21 22 25 26 30 To hold . . 12 14 16 18 20 24 30 Tubes Palette Lid only lis. 12s. 6d. 16s. 6d. 19s. 6d. EMPTY JAPANNED BOXES FOR MOIST COLOURS In Half Tubes. Hollowed and divided Palette Lids " A." 12 Half Tube Box 24 5. d. 10 6 12 6 13 6 15 STUDENTS' QUALITY Whole Tube Boxes (Sketchers), Flat Folding Palettes, no hollows in lid. 5. d. s. d. s. d. s. d. 56 63 73 80 To hold .. .. .. .. 12 16 20 24 Tubes Palettes only 26 30 33 36 & 155. T 5'J PICCADILLY, W.i, LONDON 15 Polished Albata Water- Colouiir Boxes These Boxes have the appearance of polished Silver, and though slightly more expensive, are far more durable than ordinal}^ Japanned Tin Boxes, and have no parts liable to damage from rust. Whole Pans. Half Pans. £ s. d. £ s. d. To hold 14 Moist Colours 112 150 18 ,, ,, 1 15 17 6 24 „ ,, 2 — 24 ,, ,, with Three Flaps (Half Pan only) — ■ 1 17 6 All above boxes except the 14 and 24 Half l'ans are made with Cover to Thumb Hole. To hold 1 .! Tubes, Moist Water Colours, Folding Palette Lid, Square £ s. d Divisions for Colours, Hollowed Flap, anil Hinged Cover to Thumb 1 lole To hold 1.5 Tubes (this box has no space for brushes) 18 24 For Polished Albata Water Bottles, refer to page 18 1 17 6 2 2 2 10 2 12 6 2 15 The Keeley Halswelle Sketching Box 5. d. With space in lid for Block, 7$ x 4.} in., and Divisions to hold Moist Colours pressed from Tubes . . . . . . . . . . . . 13 6 Block of Drawing Paper to fit into the above . . . . . . . . 16 Size, closed, 8| X 4} in. Slant Divisions, 16s. Square Divisions, 18s. No Thumb Hole Cover to these Palettes. 1 6 C. ROBERSON & CO., LTD., yy LONG ACRE, W.C .2 The Colour Note Box Size 0} X 4 X 1 i in. A Japanned Tin Palette, combined with a water buttle to which is attached a cup ; there is also a space in the lid for paper, and the whole is held on the thumb by means of a ring. Price £1 10s. A Japanned Tin Palette, closing like a box. 7! x 32 in. Price 10s. 6d. Size, open, 7.2 x 7J in. Closed The "Be Wint n Palette A Folding Japanned Tin Palette, as illustrated. Closed, 9 x 5J in. Price 12s. 6d. Size, open, 11^ x y in. & 1.5.5, 156 PICCADILLY, W.i, LONDON >7 THE "RGBERSQN 55 >pecial Water=coloiir Box Large Japanned Box, Four Flaps and Lift-out Tray, with 6 deep oval Wells and Thumb Hole, to hold 14 Whole Cakes or Fans. Size, closed, 8} X 4 in. . . . . . . . . . . Frice, empty 110 The same pattern, with 4 deep oval Wells and Thumb Hole, to hold 10 Whole Cakes or Fans. Size, closed, 5^ X 3^ in. Frice, empty 15 Thumb Hole Colour Box, with Three Flaps, large additional Palette surface, to hold 24 Half Fans . . . . . . Frice, empty 12 6 MINIATURE JAPANNED TIN BOXES Fitted with Moist Water Colours. Size. 2\ X 1 2 in. 2 X ijj ,, 2\ X I K ,, 6 Colours 10 Each. a', d. 6 6 7 6 8 6 Empty. Each. S. d. 5 Size. 3\ if in. 3i X i| .. 3i x 1 J ,, Each. s. d. 12 Colours 10 14 .. 11 18 ,, 13 Nickel-plated Box, 3} X il in., with 18 Colours, 21s. Empty. Each. S. d. Size. LOCKET BOXES ij| X 1 in., Japanned Tin, fitted with 8 Colours 4x I „ ,, ,, ,, 12 ,, s I ,, ,, ,, ,, 8 Colours and Sable ifX I „ Nickel Flated ,,8 Each. 8 9 9 10 [8 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 Water Bottles and Cups OVAL WATER BOTTLES WITH TWO CUPS Japa ii incd a. Albata. s. d. S. d. No. 1. Bottles 2| X H X ■ in. 5 — ,, 2. 3 1 x 1 2 x i| „ 5 6 18 ,, 3- 3 A X 2 X l\ ,, 6 20 .. 4- 4 X 2$ X I 8 „ 8 3 25 „ 5- 5i x if X I| „ 11 3 — ,, 6. 5x3 X I| „ 13 27 FLAT OVAL WATER BOTTLES A". d. s. d. No. 7. Bottles, *t x if X § in -> 1 cup . . . . . . 5 6 12 6 ,, 8. ,, 3l x 2i X I ,, 2 cups . . . . . . 7 16 „ 9- " 3| X 2i XI,, I cup . . . . . . - 15 STUDENTS' JAPANNED TIN WATER BOTTLE WITH CUP Round Bottle, .\l X 1 ! in. Oval Bottle, 4} X 2 X I in. 5. d. each 1 6 2 6 TRANSPARENT CELLULOID WATER BOTTLES WITH ONE CUP Small, size.)! X t| X ij in. Middle, ,, 5 X if X ij „ Large, .,, 52 X 2f x ij „ For Rubber and Macintosh Ecttlcs and Cups, refer to i^gc 94. 5. d. 3 4 5 (J & 155, 156 PICCADILLY, W.i, LONDON 19 RGBERSQN'S Pocket Sketching? Cases for Water THE OFFICER'S CASE No. 1. Morocco Grained Leather in various Colours, size when closed, 5 X i\ X 1 j- in., containing 3 Sables, Knife, India Rubber, Best Pencil, 18 Colours in Japanned Box, and Chinese White . . . . . . . . Complete 2 No. 2. Morocco Grained Leather, size when closed, 5} x i\ x 1 j in., as above, with Additional Sables and Water Bottle Complete 2 10 No. 3. Morocco Grained Leather, etc., size when closed, 5} X 4! X i\ in., as No. 2, with the addition of Sketch Block Complete 2 15 £ s. d. BICYCLE SKETCHING CASE No. 1. In strong Waterproof Canvas, with Leather Handle and Straps for attachment to Bicycle — containing Block of Whatman Extra-thick Paper 10 x 7 in. with Strut Sup- port ; 14 Half Pan Japanned Box fitted with Colours, Water Bottle, 4 Sables, Camel Sky Brush, Knife, 2 Best Pencils, Rubber, Sponge, and Tube of Chinese White Complete No. 2. Do. do. containing Block of Whatman Extra-thick Paper 14 X 10 in., fitted as above with addition of T Square, extra Pencils, Brushes, etc. . . Complete 3 13 6 4 14 6 PEN AND INK SKETCHING CASE In Dark Green Morocco, containing Block 7 x 5 in. of Special Smooth £ Paper, Rule, Pencil, Knife, Rubber, and a special Indian Ink Fountain Pen with fine Gold Drawing Nib Complete 2 2 6 2o C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 The " Piccadilly 55 Sketching Cases Fitted with all Materials requisite for Sketching. As supplied to Her late Majesty Queen Alexandra. No. 1. Dark Green Morocco Sketching Case, containing Block of Whatman Paper size 7x5 in., with Strut Support, Special Palette with 20 Colours, Albata Water Bottle and Cup, Chinese White, Knife, India Rubber, Best Pencil, 3 Sables, Camel Hair Sky Brush, Rule . . Complete d. 4 10 No. 2.. Do. do. do., larger, containing Block of Whatman Papjr size 9x6 in., Albata Top Colour Box, and Palette, with 14 Half Pans of Colours and other fittings as above Complete 5 5 Canvas Covered Sketching Case, made in strong Waterproof Canvas, double texture, containing Block of Whatman Paper size 10 X 7 in., in pocket, Albala Top Colour Box and Palette, with 14 Half Pans of Colours, large Albata Water Bottle and Cup, J Jest Pencil, Camel Hair Sky Brush, 3 Red Sable Brushes, Tube of Chinese White, and Knife . . . . . . . . Complete 5 5 THE "HANDY" SKETCHING CASE No. 1. Dark Green Morocco Grain Leather, size outside 7x3* X 2 in., containing 14 Half Pan Japanned Colour Box, filled, small Oval Water Bottle, 3 Red Sable Brushes, Wash Brush, Pencil, Knife . . . . . . Complete 2 & 1.55. 156 PICCADILLY, W.i, LONDON ROBERSON & CO.'S Combieatioii Pocket Sketch Book and Including Colours, Sable Brush, and Lead Pencil. The whole closing up into the thickness of an ordinary Sketch Book. From its extreme convenience and portability it is particularly adapted to tli" use of Tourists and all persons desirous of having the materials at hand for a hasty Sketch, without bsing encumbered with the weight of an ordinary box. This convenient little combination has become very popular since it was first introduced more than 30 years ago, and has since then been constantly sup- plied to 1T.M. the J ate QUEEN ALEX AN DBA, H.B.II. the PRINCESS LOUISE, and other mem hers of Royal Family, and besides being very generally used by the principal Artists and Amateurs of the day, is found to be invaluable to Military Officers for Field Sketching, etc. £ s. d. 16 1 No. 1. Size 8x4 in., including Water Cup ,, 2. ,, 8 X .5 ,, 10 Colours, large Sable Brush, etc. ,, 3. ,, 12 X 7' ,, 10 Half Pans of Colour, Tube of Chinese White, 2 Sables, etc 1 12 Block Book only for No. 1, 7s. ; No. 2, 8s. 6d. ; No. 3, 12s. 6d. Silver-mounted whole leather cases on above principle, particularly suitable for carrying in the pocket, may also be supplied. These make most attractive and acceptable presents. Chatelaine Perse Cases In Crushed Morocco or Lizard Skin. Size 4 y 1 .', |in. when closed. i s. <*• Containing Colcur Box (12 Colours), 2 Sable Brushes, Pencil, India Rubber, and Knife .. .. .. .. .. .. .. 110 Pigskin Pouch Cases, with Leather Shoulder Strap, fitted with 14 £ s. d. Half Ban Japanned Tin Water-colour Box and Colours, flat oval Water Bottle, Sables, Camel Hair Sky Brush, Pencils, etc. . . 3 18 6 C. ROBERSON & CO., LTD., oo LONG ACRE, W.C.2 C. ROBERSON & CO.'S erior Oil Colours in With the accumulated experience of a century in the preparation of Oil Colours, Messrs. C. Roberson & Co. are convinced that those which are ground by hand under the muller give results superior to those ground by machinery; they therefore continue to retain the old and more costly system, thereby being able to give direct and particular attention to the special require- ments of each colour. The colours so produced contain the smallest necessary quantity of oil, every care being taken to give a solid colour, so that if in working Medium or other vehicle be added, a good consistency is available. The oils used arc the finest and purest obtainable, and are absolutely free from lead or other deleterious matter, while the utmost care is taken in selecting and testing the raw pigments ; Messrs. Roberson cS: Co. therefore have every confidence in their statement that Artists using Colours of their manufacture are employing the purest obtainable. The late Sir John E. Millais, Bart., P.R.A., voluntarily gave the firm his written authority to state that his materials and colours came directly from them, and at all times gave him entire satisfaction. It was generally remarked in 1886, when an Exhibition of his works was held at the Grosvenor Gallery, that none of these paintings showed the least sign of change, bad surface, or decay, though some had then been painted more than forty years before. Messrs. C. Roberson & Co. recall these facts, as they take a natural pride in this undeniable proof of the quality of their products. Some among the colours in the following list may be of doubtful permanency, but for special purposes there is always a demand for certain colours without regard to permanency, and Messrs. Roberson therefore continue to prepare these colours and supply them. A full description of all pigments will be found on pages xi-xvii, so that artists need have no difficulty in rejecting from their palette those colours which are undesirable. ti ROBERSON 5 ! >tiff Permanent Flake Is the purest, bi it'grouul, and whitest whit? obtainable. s. d. Single Tubes . . . . each 6 Double Tubes . . . . each " Studio " Tubes .. ,, 16 i lb. Tubes EXTRA STIFF PERMANENT FLAKE WHITE 5. d. 9 s. d. " Studio " Tubes .. each 1 9 \ lb. Tubes Permanent Flake White also supplied in " Thii each consistency. d. (I ft 155, 156 PICCADILLY, W.i, LONDON 23 ROBERSON'S " Hand Ground " Flake White in Oil Artists and amateurs may now obtain this exceptionally fine colour, ground by expensive hand labour, at the price of the competitive article turned out by machine grinding. This White is prepared of the choicest constituents in a special manner, which imparts to it brilliancy of colour, crispness to touch, and smoothness in working, and explains its great popularity. Many instances may be quoted to prove its permanency of colour — for example, its selection by the late Sir John Millais, P.R.A., for use in painting his " Snow Pictures " ; but to name one alone, the well- known picture, " South Sea Bubble, 17^0," painted by the late E. M. Ward, R.A., and signed 1841, belonging to the Vernon Collection now in the Tate Gallery, may be referred to as bearing eloquent testimony to the qualities Messrs. Roberson ft Co. claim for their pigment. ROBERSON&.Cy» 99 Long Acre,LonJfljhi;ji Single Tubes Double Tubes " Studio " Tubes, Is. 2d. each Studio " Tubes S. d. each 5 10 b. Tubes, 2s. each ; 1 lb. Tubes, 3s. 9d. STIFF 5. d. . . each 14 £ lb. Tubes EXTRA STIFF .! lb. Tubes . . . . each 2s. 6d. " Studio " Tube. each each. s. d. 2 2 A body White, quick drying, with matt surface, quite distinct from White usually sold under this nam •, much used in solid under-painting and in the pre- paration of grounds. 5. d. s, d. h lb. Tubes . . . . each 1 3 1 lb. Tubes . . . . each 2 6 -I C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 C. ROBERSON & COJ s in Collapsible Tubes SERIES I 4 in. Tubes " Studio " Tubes (Treble) Quadruple Tubes Asphaltum. Bitumen. Blue Black. Brown Ochre. Burnt Roman Ochre. Burnt Sienna. Burnt Umber. Caledonian Brown. Cappagh Brown. Charcoal Grey. Cologne Earth. Indian Red. Ivory Black. Lamp Black. Light Red. Raw Sienna. Raw Umber. Roman Ochre. s. d. each 5 1 2 1 7 Sugar of Lead. Terre Verte. Transparent Golden Ochre. Vandyke Brown. Venetian Red. Yellow Ochre. Zinc White. 3 in. Tubes " Small Studio each Tubes SERIES IA s. d. 5" Studio " Tubes 1 1 Quadruple Tubes s. d. each 1 6 2 Antwerp Blue. Chrome Red. Naples Yellow, De ep. Black Lead. Chrome Yellow. Naples Yellow, Mi< Idle. Bone Black. Chrome Green Nos. 1,2, 3. Naples Yellow, Pali Bone Brown. Cinnabar Green Nos. 1, Prussian Blue. Chrome Lemon. 2, 3- Verona Brown Ncs • T, 2. Chrome Orange. Cyprus Umber. Chrome, Rale an d Deep. King's Yellow. SERIES II s. d. 5. d. 2 in. Tubes each 5 " Studio " Tubes . . each 2 3 " Small Studio ' ' Tubes ,, 16 Quadruple Tubes .< Brown Pink. Mauve. Purple Lake. 1 Brussels Brown. Mineral Grey. Sap Green. Crimson Lake. Mummy. Scarlet Lake. Emerald Green. New Blue. Verdigris. Indian bake. Olive Green. Yellow Lake. Indigo. Paynes Grey. Yellow Ochre, Italian Pink. Permanent Blue. Special < lualit v. 2 in. Tubes " Small Studio " Tubes Alizarin Crimson. Alizarin Green. Alizarin Scarlet. Alizarin Violet. Alizarin Yellow. SERIES III s. d. each 6" Studio " Tubes . . each 19 Quadruple Tubes .. ,, Brown Madder. Jaime Brillant. Burnt Lake. Pouzzole Red. Gamboge. Terra Rosa. Geranium Lake. Veronese Green. Italian Naples Yellow. & 155. i.56 PICCADILLY, W.i, LONDON 25 FINELY PREPARED OIL COLOURS IN COLLAPSIBLE TUBES — continued 2 in. Tubes Small Studio " Tubes Carmine No. 2. Cerulean Blue. Chinese Orange. Chinese Vermilion. Cobalt Blue. Cobalt Green, Deep. Cobalt Green, Pale. Cyanine Blue. French Ultramarine. Indian Olive. Lemon Yellow, Deep. Lemon Yellow, Pale. SERIES IV 5. d. s. d. ch 10" Studio " Tubes . . each 4 6 3 Q uadrup] e Tubes . . ,, 6 Madder Lake. Oxide of Chromium, Malachite Green. Emerald. Mars Brown. Do. do. Transparent. Mars Orange. Pink Madder. Mars \{vi\.' Pose Dorce. Mars Violet. Rose Madder. Mars Yellow. Rubens Madder. Olive Lake. Scarlet Vermilion. Orange Lake. Strontian Yellow. Orange Madder Vermilion. Orange Vermilion. Viridian. Oxide of Chromium. Zinc Yellow. 2 in. Tubes Small Studio Tubes Aureolin. Cadmium, Deep. Cadmium, extra Pale. Cadmium, Middle. Cadmium, Orange. SERIES V s. d. s. each 16" Studio " Tubes . . each 6 4 6 Quadruple Tubes .. ,, 9 Cadmium, Pale. French Ultramarine, Cadmium, Yellow. Special Quality. Deep Rose Madder. Scarlet Madder. Extract of Vermilion Yellow Madder. (Field's). 2 in. Tubes Small Studio Burnt Carmine. Cadmium, Red. Cadmium, Scarlet. SERIES VI s. d. each 2 " Studio " Tubes . . each Tubes ,, 6 Quadruple Tubes Crimson Madder. Ultramarine Grey. Indian Yellow(Genuine). Violet Carmine. Madder Carmine. S. d. 9 12 2 in. Tubes " Small Studio ' Carmine (extra). Madder Red. Tubes each SERIES VII s. d. 6 Primrose Cad mium). Purple Madder (extra). 2 7 Mutrie Studio " Tubes each 10 6 Violet Cobalt, Deep. Violet Cobalt, Pale. Genuine Ultramarine, Strength ULTRAMARINES s. d. Full 21 Do. do. Medium Strength 10 6 Genuine Ultramarine, Do. do. Ash Pale The above being price per 2 in. Tube. s. d. 8 5 2 6 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 For Oil Painting. The present demand for Colours prepared with Amber has induced Messrs. Roberson to devote particular attention to that vehicle. These Colours can be confidently recommended, and are used by many of the more prominent French artists. They are ground with a special preparation of Amber, the particles of colour being locked up in the vehicle, with the result of greatly increasing the permanency of the pigments. They dry more thoroughly and from below instead of forming a skin on the surface, and arc much more brilliant than when ground with oil alone. They are of a very pleasing consistency for work, being stiff and solid on the palette, but yielding freely under the brush or knife. Supplied in wide-mouth Double Tubes, the size of Illustration. SERIES I 8d. each. Blue Black. Bone Brown. Brown Ochre. Burnt Sienna. Burnt Umber. Caledonian Brown. Flake White. Indian Bed. Ivory Black. Lamp Black. Light Red. Raw Sienna. Raw Umber. Roman Ochre. Terrc Verte. Vandyke Brown. Venetian lied. Yellow Ochre. Zinc White. SERIES 7A lOd. each. Antwerp Blue. Chrome Yellow, Tale, 1 )eep, and Orange. Naples Yellow, Pale, Middle, and Deep. Prussian Blue. SERIES V 3s. 6d. each. Aureolin. Cadmium, Deep. Cadmium, Orange. Cadmium, Pale. Extract of Vermilion. Rose Madder, Deep. Yellow Madder, Pale and Deep. Amber Medium, for use SERIES II Is. 3d. each. Brown Pink. Cappagh Brown. Crimson Lake. Emerald Green. Indigo. Permanent Blue. Purple Lake. Transparent Golden Ochre. SERIES VII 5s. 6d. each. Carmine. Madder Carmine. Madder Red. Mutrie Yellow. Purple Madder. 1 ritramarine Ashes. Violet Cobalt. with above, 1 oz., Is. 3d. SERIES III Is. 6d. each. Alizarin Crimson. Alizarin Green. Alizarin Scarlet. Alizarin Yellow. Brown Madder. Cerulean Blue. Terra Rosa. Vermilion. SERIES IV 2s. 6d. each. Cobalt Blue. Cobalt Green Nos. 1 and 2. Cyaninc. Emerald Oxide of Chro- mium. French Ultramarine. Indian Yellow. Lemon Yellow, Deep. Lemon Yellow, Pale. Mars Orange. Mars Red. Mars Yellow. Orange Vermilion. Oxide of Chromium. Rose Doree. Rose Madder. Rubens Madder. Scarlet Madder. Scarlet Vermilion. SERIES VI 4s. 6d. each. Crimson Madder. Ultramarine Grey. 2 oz., 2s. ; 6 oz., 3s. 9d. & 155. J 5 6 PICCADILLY, W.i, LONDON 27 ROBERSQN'S Medium for Oil Painting This Medium has now been in universal use by Artists for more than ninety vears, and is confidently recommended for its quality of imparting permanency and richness to Colours. In 4 in. Single Tubes Tubes (size of engraving) Larger Tubes each s. d. 6 1 1 6 Please observe that the neck of the Tube is stamped " Roberson's Medium." W. P. FRITH, Esq., R.A., wrote in January, 1897, as follows : Gentlemen, — After careful examination of my picture, " The Derby Day," at the National Gallery, I have come to the conclusion that it is in as perfect a state of preservation as possible- — in fact, I consider that there is not the slightest change in colour since it was painted, more than forty years ago ; and I think it is only right to apprise you of this fact, the picture being painted entirely with your Colours and your (Roberson's) Medium. {Signed) W. P. FRITH, 114, Clifton Hill, N.W. ROBERSON'S MEDgM m OIL painting: Fresco Colomirs As used by the late Lord Leighton, P.R.A., and other eminent Artists, for their decorative paintings at the Royal Exchange, etc. etc. These Colours may be used either directly on the wall surface, or on a specially prepared canvas made by us for this purpose. With the assistance of Professor Church, M. A., F.R.S., Professor of Chemistry to the Royal Academy, we so perfected the preparation of the materials for this process of painting, that they undoubtedly far surpass any other means that can be used to obtain a thoroughly satisfactory and permanent decoration, capable of resisting the effects of atmosphere and climate. Supplied in special large Tubes to order. Messrs. Roberson & Co. have published an explanatory pamphlet on work by this process with prices of all materials, and will with pleasure forward a copy to any artist or others interested in decoration. The experience of several eminent artists who have used Spirit Fresco is given therein. 28 C. ROBERSON St CO., LTD., go LONG ACRE, W.C.2 Parris 5 Marble Madman These Colours, introduced more than 30 years ago, and now firmly estab- lished, have more than proved their claim as being outstandingly suitable for Mural and Ceiling Decoration. Their manipulation is identical with that of ordinary Oil Colours, so their use entails no study of new technical methods. Decorations carried out in Oil Colours, while having the quality of durability, fail in effect from the inevitable sheen or gloss of surface. ROBERSON'S MATT COLOURS, with all the qualities of durability, richness, and transparency possessed by Oil Colours, have the added advantage of presenting in the finished work a dead or light-absorbing surface, rendering the Decoration entirely visible from any point in view. Wall surface when properly prepared for the purpose may be painted upon direct with these Colours, or the work carried out on ordinary canvas and after- wards placed in position. The Colours are prepared in a consistency for use, but where found necessary or desirable to thin them in working, Rect. Spirit of Turpentine or Petroleum may be used for the purpose. The drying will be accelerated with no tendency to contract or crack. Reference may be made to several important paintings by eminent artists in the decorations of various public buildings carried out with ROBERSON'S MATT COLOURS ; among others may be mentioned the lunettes placed in Liverpool Town Hall as long ago as 1910, and in recent years the eight large panels placed in St. Stephen's Hall, Westminster, painted by well-known artists under the control of Sir David Cameron, R.A. In the latter case these colours were chosen after considerable discussion and mature consideration and their selection has been justified by universal approval of the results obtained. They offer also strong resistance to the action of the sulphur acids which arc present in the atmosphere of all large towns ; but a further protection may be secured by a coat of Roberson's Matt Varnish. This procedure is strongly advocated by Professor A. P. Laurie, M.A., D.Sc, Professor of Chemistry, Royal Academy of Arts, for in time all wall surfaces become begrimed, then the pro- tective film of Matt Varnish may be removed, revealing the painting in its original brilliancy, to be again protected by the varnish. & 155, 156 PICCADILLY, W.i, LONDON 29 RQBERSGM 9 £ Matt Colours PRICE IN TUBES AS ILLUSTRATED. Each Blue Black. Brown Ochre. Burnt Sienna. Burnt Umber. Caledonian Brown. Cappagh Brown. Flake White. Indian Red. Ivory Black. Lamp Black. Light Red. The above also in Quadruple Tubes at 2s. 3d. each. Flake White and Zinc White excepted, which are X lb. Tubes at 2s. 6d. Is. 8d. Raw Sienna. Raw Umber. Rmnan Ochre. Terre Verte. Transparent Golden Ochre. Vandyke Brown. Venetian Red. Yellow Ochre. Zinc White. Each Antwerp Blue. Chrome Yellow, Lemon, Middle, Deep, and Orange. 2s. Indigo. Naples Yellow, 1, 2, 3. Prussian Blue. Verona Brown, I, z, 3. The above also in Quadruple Tubes at 2s. 8d. each. Each Alizarin Crimson. Alizarin Green. Alizarin Scarlet. Alizarin Violet. Alizarin Yellow. Brown Madder. Each Carmine No. 2. Cerulean Blue. Cobalt. Cobalt Green, Pale and Deep. Cyanine. Emerald Ox. of Chro- mium. Each Aureolin. Cadmium, Yellow. Cadmium, Pale. 3s. Crimson Lake. Emerald Green. Permanent Blue. Scarlet Lake. Terra Rosa. 5s. French Ultramarine. Indian Olive. Lemon Yellow, Pale and Deep. Madder Lake. ( )range Lake. Orange Madder. Orange Vermilion. 7s. 6d. Cadmium, Deep. Cadmium, Orange. Deep Rose Madder. EMERALD OXIDE CHROMIUM. Oxide of Chromium. Pink Madder. Rose Doree. Rose Madder. Scarlet Vermilion. Strontian Yellow. Viridian. Vermilion. Extract of Vermilion. Scarlet Madder. Yellow Madder, Pale. PARRIS' MARBLE MEDIUM For admixture with Oil Colours, where the surface of the painting is required to have a Matt Surface. In Tubes . . . . each Is. and Is. 6d. In Bottles (liquid) each Is. 3Q C. ROBERSON *& CO., LTD., 99 LONG ACRE, W.C.J Japanned Tin Oil Colour Boxes No. 5 Box BEST QUALITY Empty, without l'aluttu. Fitted complete. / S. d. f 5. d. No. 1. Pocket Box, size 9] X 6 in., to contain 12 Colours, Palette, Brushes, Palette Knife, Turpentine, and Dipper .. .. .. 056 0160 No. 2. Japanned Box, size iof X 7} X if in. deep, 18 Tube Colours, Palette, Brushes, Oils, etc. 7 6 15 No. 3. Do. size 12 ]• x 6} in., with Flap, 15 Colours, Palette, Oil, Turpentine, Knife, Brushes . . 8 14 No. 4. Flat Portable Box, size 13 X 9 X i\ m - deep, with Inside Flap, 20 Tube Colours, Palette, Brushes, etc 12 6 1 16 No. 5. Do. do. double bottom, to take three Academy Boards .. .. .. .. 136 276 / s. d. Studio Tube " Box, size I2| X 9 X 1] in. deep, 8 " Studio " Tubes and 8 " Half Studio " Tubes, Palette, Sable and Hog Hair Brushes, Oils, Knife, Dipper, etc. . . . . . . . . . . ..012 d. 2 10 & 155. J 56 PICCADILLY, W.i, LONDON 31 JAPANNED TIN OIL COLOUR BOXES— continued STUDENTS' QUALITY £ s. d. A. Box, to carry 12 Colours, size 10 X 6 X 1 in., empty, with Palette 5 3 Do. Fitted Best Quality Colours, 2 Bottles, Brushes, etc. . . 15 B. Box, to carry 17 Colours, size 11 X 7] X 1] in., empty, with Palette 079 Do. Fitted Best Quality Colours, 2 Bottles, Dipper, Brushes, etc. .. 10 C. Flat Portable Box, to carry 21 Colours, size I2§ x 8.1 X i£ in., empty, with Palette and Dipper . . . . . . . . 10 9 Do. Fitted 21 Best Quality Colours, Sable and Hog Hair Brushes, Palette Knife, Linseed Oil, Turpentine, Dipper, etc. 18 Japanned Tin, Best Finish, size 12J; X 10 j- X 4f in., divided partitions, £ s. d. containing 4 Screw-top Tin Bottles, 4 Boxes with Lids for Dry Colours, Gold Leaf Tray, Brush and Mahl Stick Tray . . . . 2 2 6 Brash Washers, Smuidge Pans, etc t M s. d. No. 3. Plain Tin, square base, 3^ in. diameter . . . . . . . . 2 6 ,, 4. Do. do. Japanned . . . . . . . . . . . . 2 9 ,, 5. Square, Plain Tin, hinged Lid . . . . . . . . . . 3 6 ,, 6. Oval, Japanned, hinged Lid . . . . . . . . . . 4 Smudge Pan, Plain Tin 5 Oil Bottles, With Screw Tops, Plain Tin, various sizes to lit Oil Tube Boxes .. .. .. .. .. ..2s., 2s. 3d., 2s. 6d. 3* C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 TO m. No. 1. 3- 4- 5- C. 7- 8. 9- 10. 14. 15- 16. 17- 18. d. each Tin Dippers, Incurved Tops, small and h Do. do. Double Do. do. extra large, 2 in. dia. Do. do. do. Double . . Round Tin Dippers, small and large Do. Double Capped Tin Dippers Do. Double Conical Tin Dippers Do. Double The " Millais " Dipper Do. Large The " Lcighton " Dipper, large, corked Long Oval, 4} in., for large brushes Do. 4^ in., for large brushes. . Cupola Dippers, with Corks, No. 1, 4d. ; No. 3, 6d. ; No. 4, 7d. ; No. 5, 8d. ; No. 6, lOd. each. Do. with Screw Caps, No. 2, lOd. ; No. 4, Is. Id. ; No. 6, Is. 6d. ; No. 7, Is. 9d. each. Oval, Plain Tin, straight sides Plain Tin Dipper, i\ in., for Signwriters Do. do. 2 in. do. u 2 H 5 8 3 5 10 1 8 4 8 2 2 6 I 6 5 6 each s. 1) a (> 4 5 & i 5 5. 156 PICCADILLY, W.i, LONDON 3.1 Brash Cases JAPANNED TIN, WITH HANDLES For Water-colour Brushes. No. i. Round, 8J in. long, i .> in. diameter, centre slide ,, 3. Oval, 8.I in. lung, banded metal slide . . ,, 4. ,, 10J ,, ,, ,, ,, s . d . 1 G 3 3 6 For Oil Colour Brushes. No. 5. Oval, best, 15 in. long, removable banded metal centre ,, 7. Round, 15 in. long by 3 in. diameter ,. 9- „ M .. ,. 2 „ „ 4 6 3 6 1 9 CELLULOID CASES .s' . d . For Water-colour Brushes, 8\ in., with banded Aluminium centre . . 5 6 PICCADILLY BRUSH CASES Flat Morocco Case, with flap ends to protect contents, and is closed with two Flastic Bands. s. d. Size 9 in. long by 2^ in. wide, for 4 Brushes . . . . . . each 8 6 ,, 10 ,, ,, 3! ,, ,, 8 „ 10 6 The " Pouch " Brush Case. Of Waterproof Cloth, 9 in. long, with a protective centre for 8 or more Brushes and Sky Brush. . each 2 6 The "Acre" Brush Case. Similar in appearance to the Piccadilly Case, but made of Leather Cloth, and is closed by pross studs. Holds 8 Brushes . . . . . . . . . . . . each 3 ROLL-UP CASES FOR OIL BRUSHES Waterproof Brown Canvas, Leather Bound, and Strap . . s. d. 10 6 34 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 Wabiiit-wood Oil Colour Sketching Boxes These Boxes recommend themselves to the sketcher by reducing the weight nt impedimenta necessary for work in the open. No easel is required with their use, the sketch being made in the lid whilst the box is supported on the hand, or in the larger sizes on the knees. The wet sketches are carried in the lid with perfect safety. No. 1. " Pochade," Walnut Thumb-hole Box, with Palette, Tin Trays, Bottles, Dipper, and Two Panels, 8$ X 4] in. ,, 2. Do. Size of Panels t)l x 5* in., size of Box gf X 6.1 in. ,, 3. Do. Size of Panels 9A x 0{ in., size of Box g| X 7 in. . . No. 3 contains, in addition to two panels, one Millboard. £ s. d. 1 3 1 4 1 6 6 No. A2. Walnut-wood Sketching Box, size 14] x lof in., with Palette, Tin Trays, Bottles, Dippers, etc., with Sketching Board for Canvas, Leather Handle ,, A3. Do. do. size 15 X 12 in. . . 10 13 No. Bi. B 3 . B 4 . x X £ s. d. 1 Walnut-wcod Sketching Box, size 12 X 10 in., with Palette, Tin Trays, Bottles, Dippers, etc., and holding Two White Wood Panels in the Lid, Leather Handle . . Do. do. size 15 J x 11 in.; Two Panels, size 14 10 in. Do. do. size 17.} x 14] in. ; Two Panels, size i6\ L3in By a recent improvement the Panels in above Boxes are held in the Lid by a Rack Frame, enabling the Sketch to be raised or lowered at will during work. For prices of Panels to fit these Boxes, see page 41. 13 17 5 & 155, 156 PICCADILLY, W.i, LONDON 35 WALNUT-WOOD SKETCHING BOXES— continued Boxes with Lengthening Apparatus No. Ci. Improved Walnut-wood Sketchirg Box, size 12 X 10 in., with Palette, Tin Trays, Bottles, Dipper, etc., with Folding Board to carry Wet Canvas, and Lengthening Apparatus to hold it, size of Sketch carried 15^ X 10 in. ,, C>. Do. do. size 14] x iof in., size of Sketch 19 X 12^ in. ,, C3. Do. do. size 15 X 12 in., size of Sketch 21 X 13 in. / s. d. 2 10 2 14 2 18 (J holding Palette Sketching Box, size 14] X 6 in., Tin Trays and Bottles, with Sketching Board lor Canvas . . . . . . 1 12' Do. do. size 1 7A X 7] in. .. .. .. .. ..220 Extra Light Thumb -hole Boxes With Hooks, Strap, and Sliding Palette. No. Di. Plain Walnut, to carry Two Panels, 7 X 5! in. ,, D_\ ,, ,, 8| X 6} in. . . ,, ^3- ,, „ 9j X 7I in. . . ,, D4. ,, ,, log X 8£ in. / 6'. d. 15 17 1 1 2 6 Superior Quality. £ s . d. No. 1. Walnut- wood Sketching Box, size 15 X 11 in., of superior inake, very best material and workmanship throughout, with Comfortable Leather Handle, Large Brass Clinch Hooks, etc., to carry Three Panels 14 x 10 in. . . . . 4 4 ,, 2. Do. do. 13 X 8 in., to carry Three Panels 12 X 7 in. .. 3 13 6 For White Wood Panels to fit foregoing Boxes and other sizes, see page 41. To support Sketching Box in use. s. d Adaptable to any wooden Box, easily adjusted or removed, and carried inside Box Per Set of Three 17 To carry Sketching Box or support same in use. 5. d. Leather Straps, best finish, plain or buckle . . . . . . . . 2 6 2 in. Brown Web do., Nickelled Swivel Ends . . . . . . . . 4 Combination Leather Strap with Swivel Ends, may be used either as a Handle or a Sling . . . . . . . . . . . . . . 4 36 C. ROBERSON cS: CO., LTD., 99 LONG ACRE, W.C.2 ROBERSON & CO.'S Oils, Varnishes, and Mediums Picture Mastic, Finest Amber Varnish ,, Pale Picture Copal Varnish Oil Copal Varnish . . Damar Varnish Celluloid Varnish White Lac Varnish . . White Spirit Varnish (Spa) Liquid Copal Medium Roberson's Preparation Copal Japan Gold Size Nut Oil Poppy Oil (Refined) Linseed Oil (Fine Old Bleached) ] 'ale Drying Oil Oil of Spike Lavender Rectified Spirit of Turpcnti Matt Varnish Artists' Prepared Size Paint Solvent Petroleum Rectified Crystal Paper Varnish 1 oz. Glass Bottles. 2 oz. Round or Flat G lass Bottles. 3 oz. Glass Bottles. 6 oz. Glass Bottles. Half Pints. s. d. s. d. S. d. S. d. 5. d. 1 1 9 2 6 4 6 6 9 1 1 9 2 6 4 6 6 9 1 1 9 2 6 4 6 6 9 10 1 6 2 3 9 5 6 9 1 3 1 8 3 6 5 9 1 3 1 8 3 6 5 10 1 6 2 3 9 5 6 9 1 3 1 8 3 6 5 8 1 2 1 8 3 4 6 10 1 6 2 3 9 5 6 10 1 6 2 3 9 5 6 6 9 1 1 8 2 6 8 1 2 1 8 3 4 6 6 9 1 1 8 2 6 6 9 1 1 8 2 6 6 9 1 1 8 2 6 1 3 2 3 3 6 5 9 8 1 6 9 1 1 8 2 6 8 1 2 1 8 3 4 6 — 6 — 1 1 9 — 9 — 1 6 2 3 _ 8 — — 1 6 . — . 9 — — 2 6 9 1 3 1 8 3 6 5 s. d. 12 6 12 6 12 6 10 9 9 10 9 8 3 10 10 4 9 8 3 4 9 15 4 9 ieiidry Medrains, Etc. Copal a I'Huile Durozicz Siccatif de Harlem, do., Small Do. do. do. Large Siccatif de Courtrai Ldouard's Mixtion Vibert's Essence de Petrole . . Huile Essentiel s. d. 4 6 3 7 8 s. d. Sochnee Varnish, for Leather, etc. 3 6 Do. do. No. 2, Water-colour Do. do. do. Large Do. do. No. 3, for Oil 1 >o. do. do. Large Amber Medium Spirit Fresco Medium per pint 2s. Vibert's Vernis a Retoucher Small, Is. 7d. ; Middle, 2s. ,, Vernis a Peindre ,, Is. 4d. ; ,, 2s. ,, Vernis a Tableaux ,, Is. 2d. Adolfi Medium for painting on Fabrics Turck's Florentine Medium for painting on Fabrics Turck's Mirrorine Medium Fat Oil of Turpentine for China Painting . lOd. 4d. ; Large 2 3 2 3 2 15 s. 5 4 3 1 1 1 1 3 6 3 6 d. 4 5 8 (. 6 6 (. & i 5 5, 156 PICCADILLY, W.i, LONDON 37 Superior Canvas of Pore Flax Carefully prepared in our Own Factory, for Oil Painting. In Rolls 6 yards long. Pattern Books sent on Application. per square yard 12 N.i. i. Single Primed, all widths to 7 ft. . . . . per square yard ., 2. Extra Fine Canvas, 54 in.. . . . . . . . per yard run ,, 3. Fine Single Primed, 54 in. ,, 5. Plain Canvas, Full Primed, 30, 54, and 60 in. ,, 7. Twill Canvas (Tickcn), 36, 54, and 72 in. ,, 9. Roman Canvas, 36, 54, and 72 in. ,, 10. No. 1 Canvas sized only, 54 in. (otlur widths to order) . . ,, 11. Absorbent Gesso Canvas, 54 in. . . ,, 12. Extra Strong Canvas, 54 and 72 in. ,, 13. ,, ,, ,, 45 and 62 in. ,, 14. Sharp Toothed, Single Primed, 54 and 72 in. ,, 15. Fine Canvas, Grey (Furse), 84 in. ,, 15a. ,, ,, Warm Grey, 84 in. ,, 16. Strong Coarse Grain, 144 in. ,, 17. Fine Canvas, Sharp Tooth, 84 in. ,, 18. „ „ Smooth Grain, 84 in. ,, 19. Sharp Tooth Brown Tone (Lavery), 54 and 72 ,, 20a. Fine Canvas, Sharp Tooth, 78 in. ,, 21. Extra Strong Canvas, 96 in. ,, 22. Strong Mural Canvas, Rough, 54, 96, and 108 ,, 23. ,, „ „ Medium, 120 in. . . ,, 35. Strong Canvas, Good Quality, 54 in. ,, 36. School Quality, Single Primed, 42 and 84 in. per ,, 37. Strong Grain Hemp, 67 in. " Whistler " Coarse Open Texture, Grey, 72 in. . " Jute " Canvas, Coarse, 84 in. " Water-colour " Canvas, White, 54 in. . . . . per square yard U, 14 1 1 11 per yard run per square yard per yard run per square yard per yard run yard run 7s. & pcr yard run 25 25 d. (> (. 3 7 8 6 14 11 11 55 25 6 25 6 12 20 36 15 52 6 12 13 6 16 16 16 12 Messrs. C. Roberson & Co., Ltd., have for more than a century made a speciality of the preparation of Canvas for Oil Painting, and they have never deviated from the policy of using the finest raw materials procurable and have made a careful study of the textures of their cloths, all the fabrics being specially woven for them. To this policy they intend to adhere, as they are convinced it is to it that they owe the appreciation of those leading artists they count among their patrons. The important part that durability of the canvas stands for in the future of a painting makes it obvious that Quality is the greatest consideration. Pietmre Liming and Restoration For many years Messrs. Roberson have made this an important part of their business and arc expert in dealing with every branch of this work, which requires such skilful handling. Apart from accidents which may oocur to works, such as tears or holes resulting from falls or other damage, artists often find it desirable to alter or increase the size of their canvases ; work of this nature entrusted to the firm will be carried out with all the care and success which follows long experience in these matters. 3« C. ROBERSON & CO., LTD., oo LONG ACRE, W.C.2 Prepared Canvases Strained on Best Quality Wedged Frames. Size. Nos. 35. 37, Jute "Whistler." Nos. 1, 3, ii, 20a. Nos. 2, 7> 9, 13. 14, 15, 17, 18. Nos. 5 and 19. Nos. if>, 21, as, 23- in. in. 5. d. s. d. S. (1. s. d. S. rf. 8X6 1 6 1 7 1 8 1 9 2 9x7 .. 1 7 1 9 1 10 1 11 2 1 IO x 7 1 9 1 11 2 2 1 2 4 10 X 8 1 11 2 1 2 3 2 4 2 7 II X 2 2 2 4 2 6 2 8 3 12x8 2 2 2 4 2 6 2 8 3 12x9 2 4 2 5 2 8 2 10 3 4 12 X IO 2 6 2 7 2 10 3 3 8 13x9 2 6 2 7 2 10 3 3 8 13 X IO 2 8 2 10 3 1 3 2 3 10 14X9 2 8 2 10 3 1 3 2 3 10 14 X 10 2 8 2 11 3 2 3 3 3 10 14 X 12 3 3 2 3 5 3 8 4 6 15 X II .. 3 3 2 3 5 3 8 4 6 16 X 10 3 1 3 5 3 9 3 11 4 7 16x12 3 4 3 9 4 4 3 5 1 17 x 13 3 9 4 1 4 6 4 9 5 9 18 X IO 3 5 3 10 4 1 4 3 5 1 18x12 3 8 4 1 4 6 4 9 5 9 18 X 14 4 4 5 4 10 5 1 6 2 19 x 13 .. 4 4 5 4 10 5 1 6 2 20 X 1 2 4 3 4 7 5 5 3 6 5 20 X 16 4 11 5 5 6 6 3 7 7 21 X 14 4 9 5 3 5 9 6 1 7 3 21 X 17 5 5 5 11 6 5 6 11 8 5 22 X 14 4 11 5 6 6 6 3 7 5 22 X 16 5 5 5 11 6 5 6 10 8 5 22 X l8 5 9 6 4 6 10 7 5 9 1 24 X 12 4 11 5 5 5 11 6 2 7 5 24 x 16 5 10 6 4 6 11 7 5 9 1 24 x 18 6 4 6 10 7 5 8 1 10 24 X 20 Head Size 6 9 7 5 8 2 8 8 10 7 26 X 18 7 7 7 8 4 8 10 10 10 27 x 20 7 5 8 3 9 1 9 7 11 7 27 X 22 8 3 9 10 10 8 13 1 30 x 20 8 6 9 3 9 11 10 11 13 4 & 155. i.56 PICCADILLY, W.i, LONDON 30 PREPARED CANVASES -continued Strained on Best Quality Wedged Frames. Size. Nos. 35, 37, Jute " Whistler." Nos. r, 3, 1 1, 20a. Nos. 2, 7, 9, 13, I4.I5, '7, 18. Nos. 5 and 19. Nos. 16, 21, 22, 23- in. in. 30 X 2 2 3° X 25 36 x 24 36 x 28 'Three-Quarter" ' Kit Cat " . . / s. d. 6 8 11 9 8 11 7 12 11 / 5. d. 6 9 10 10 10 12 9 14 3 / s. d. 10 10 11 10 13 9 15 9 / 5. d. 6 11 5 12 6 14 11 16 8 / s. d. 6 14 15 4 18 3 1 6 With Cross Bars, wide and stronger Frames. 40 X 24 13 10 15 4 16 10 17 10 1 1 4 40 x 30 16 16 10 19 4 1 6 1 5 44 X 34 1 6 1 2 11 1 4 11 1 6 3 1 11 6 48 X 36 1 3 10 1 6 6 1 8 2 1 10 6 1 17 4 50 x 30 1 1 1 3 6 1 5 6 1 6 9 1 12 6 50 X 40 ' ' Half Length " 1 6 6 1 9 6 1 12 1 13 9 2 1 6 56 X 44 ' ' Bishop's " ilo. 1 12 6 1 16 1 19 2 1 2 10 60 X 40 1 12 6 1 15 6 1 18 6 2 6 2 10 72 X 48 2 9 2 15 2 18 6 3 2 3 13 6 94 y- 58' ' Whole Length' 3 9 6 3 16 6 4 4 4 7 6 5 6 106 x 70 ' ' Bishop's " do. 5 9 6 5 19 6 8 6 6 15 8 Hinged Wedged Frames to Fold, and Panel Back Wedged Frames. Odd or larger sizes made to Order, and the grounds specially pre- pared with extra surfaces, either smooth or granulated, at proportionate prices. Wed* spared Canvas on fed Frames A pu tor St 11(1 suppl ed Si.'l in m 7 y 5 8 X 6 9 X 6 9 X 7 10 X 8 11 X <) 12 X 8 12 X 9 12 X 10 M x 10 1 1 X 1 2 L5 X 11 iv Linen Fabric primed in our own Factory, for use in Art Schools and ies, which is much more reliable than the inferior Cotton Fabrics often E: .ch. s ize. s. d. m. in. 1 4 IO X 1 2 1 5 17 X 13 1 6 18 X IO 1 6 18 x 12 1 8 18 X M 1 11 10 X 1 1 1 11 20 X 12 2 20 X M 2 20 X 16 2 2 2 I X 14 2 5 21 X 17 2 5 2 2 ■/ 12 V.; ch. s izc. s. d. in. in. 2 8 22 X 16 3 2 24 x 16 2 8 24 X 18 2 11 24 x 20 3 3 27 X 20 3 2 30 X 20 3 2 30 x 25 3 8 36 X 24 3 10 36 X 28 3 10 40 X 24 4 40 30 .'■> 8 44 X 34 Fn ch. s. d. 4 4 8 4 S 4 10 6 (> 6 10 7 9 8 s 9 3 12 (> 13 8 16 7 Gesso Sottile, as used in preparing Gesso grounds on Canvas or Boards, in Blocks of approximately 12 oz., 2s. each. Canvas Straining Pliers, Improved Pattern, 7s. 6d. per pair. 4 o C, ROBERSON & CO., LTD., 90 LONG ACRE, W.C.2 Best Quality Wedged Stretchers Messrs. Robcrson deprecate the use of trail frames now common, though they can, of course, supply them if particularly desired, but otherwise they use certain standards of width and substance, and strength of tenon or angle joints, that their long experience has taught them to be necessary. Naturally the cost is somewhat higher, but actually they will prove economical in use. Size. 8 X 6 X 7 10 X 7 10 X 8 1 1 X <) 12 X 8 12 y 9 12 X 10 13 X <> 13 X 10 " 1 X 9 ' 1 X Ki ' 1 X 1 2 1.5 X 11 10 X 10 16 X ] 2 !7 X 13 Each. s ize. s. d. in. in. 9 18 X IO 10 l8 X 12 11 18 X 14 1 19 x 13 1 1 20 1 j 1 1 20 X 16 1 1 21 X 14 1 1 21 x 17 1 1 22 X 14 1 3 2 2 X 16 1 3 22 x 18 I 3 24 X 12 1 3 24 X 16 1 3 24 X 18 1 3 24 x 20 1 3 26 X 18 1 5 27 x 20 Each. s ize. s. d. 111. in. 1 5 27 X 22 1 5 30 x 20 1 6 30 X 22 1 6 3" x 25 1 8 3'' X 24 1 9 36 X 28 1 9 40 X 24 1 11 40 x 30 1 11 44 X 34 1 11 48 x 36 1 11 50 x 30 1 11 50 X 40 2 56 X 44 2 2 60 X 40 2 5 72 X 48 2 6 94 x 58 2 8 106 x 70 Each. s. d. 2 9 3 3 2 .* h 4 .< 4 <> 5 S 6 «> 8 •^ 9 (» 8 <) 10 ') 13 •) 13 <) 23 3 31 (> 57 (> Stretchers larger than 40 x 30 in. have one or more centre bars. st Seas Prepared for Oil Painting. Messrs. Robcrson & Co. have always a large stock of these, and will be very pleased to give quotations on application. ('(insist of Rope Boards which have been prepared for Oil Painting for a number of years, and are thus in perfect condition for panel work. Size, in. in. 9X7 10 x 8 11 X 9 12 x 10 Each. Size. s. d. in. in. 1 18 X 12 1 6 20 X 16 1 9 21 X 17 2 Each. s. d. These will be discontinued when present stock exhausted. Prepared Canvas Boards Millboards surfaced with Prepared Linen Canvas, for sketching or ordinary use where the surface of canvas is required combined with solidity and portability. Size. 7 X 5 10 X 7 10 X 8 1 1 X 9 12 X 8 1 _' :■: 10 B •St. Students'. Size. s. d. s. d. m. in. 1 7 13 X 9 1 2 11 14 X IO 1 3 11 15 X II 1 4 1 16 X 12 1 5 1 1 18 X 12 1 9 1 4 20 X 14 " Best " quoted above arc surfaced with " Sing in Pattern Books. " Students' " do. do. with No. Best. Students'. S. d. .v. d. 1 9 1 6 1 10 1 7 2 4 1 8 2 6 1 10 2 11 2 1 3 6 2 6 Prime " Canvas as shown & 155. i5 r > PICCADILLY, W.i, LONDON 4i Prepared Oil Sketching Paper Smooth or Grained with Canvas Surface. 5. d. Imperial, 30 x 22 in. .. .. .. .. .. .. per sheet 1 Canvas surface sent unless otherwise ordered. Improved Solid Blocks For Sketching in Oil. Made of Smooth or Canvas ('.rained Oil Sketching Paper as above. Size, in. in. s. d. l6mo Imperial . . . . . . . . . . 7 X 5 each 2 6 8vo ,, . . . . . . . . . . 10 x 7 ,, 4 6 4to ,, .. .. .. .. .. . . 14 x 10 ,, 8 6 Half , 20 x 14 „ 15 Oil Sketching Tablets Millboards, covered with Oil Sketching Paper as above. Size, in. in. 7 X 5 • • 8X6.. 10 x 7. . 10 X 8. . Each. Size. S. d. in. in. 4 12 X 8 5 12 X 9 6 14 X IO 6 16 X 12 Each. Size s. d. in. in. 8 18 X 1 2 8 18 X M 9 20 X 1 ( 1 29 X 21 K; ch. s. d. 1 2 1 3 1 4 2 9 Smooth Surface Boards for Studies or Sketching. Best Best Quality. Quality. Size. Thick. Size. Thick. in. in. s. d. in. in. s. d. hull Size, 24A X 18 J. each 2 Panel Size 14 X IO each 9 Half do., i8i x 12'. 1 19 X 14 . 1 6 Quarto do. i2| o|. 6 28 x 19 . 3 Octavo do. 9] X 6 . 3 38 X 14 . , , 3 Panel Size, 10 x 7 . " 4.1 " " 38 x 28 . • 6 Plain White Wood Panels For Sketches, etc. To fit Walnut Boxes, pages 34 and 35. Size. 8| IV 9\ < 5l 9J <>! Ea h. Size. 5, d. in. in. 5 I0| X 6{ 6 12x7 6 13 X q\ Each. Size. s. d. in. in. 7 I| X IO 10 k>! < n 11 20 X 12 Earh. S. d. 1 1 8 2 3 4 2 C. ROBERSON <& CO., LTD., 00 LONG ACRE, W.C.2 Brushes for Painting in Water Colours Messrs. C. Roberson & Co. use their best endeavours to retain the high reputation they have always enjoyed for their brushes, and beg to remind artists that the value of Sable Brushes depends upon the quality and quantity of the hair, and cannot be fairly judged by price lists. Superfine Red Sable Brushes in Long Quill. Finest Selected Hair. bkkiAtatMiriUuy Eagle Quills, with Plumes, 25s. to 42s. each. I! VI | Small Eagle, 10s. each "MTTt Extra Swan, 9s. each. Large Swan, 7s. 6d. each. - mii Middle Swan, 5s. each. Small Swan, 4s. each. Extra Small Swan, 3s. each. SUPERFINE RED SABLE BRUSHES IN SHORT QUILL, PLAIN SILK TIE Middle Swan . . Small Swan Extra Small Swan Large Goose Goose Small Goose each s. d. s. d. 4 6 Large Duck each 1 3 6 Duck 9 2 9 Small Duck . . 7 2 Crow 5 1 6 hark 4 1 3 & 155. L5 r > PICCADILLY, W.i, LONDON 43 BRUSHES FOR PAINTING IN WATER COLOURS— continued Designers 5 Red Sable Brashes In Quill, tied with Red Silk and Gold Wire. Recommended to Artists desiring extra Length and Strength of Hair. s. d. <;. d. Pigeon . . Crow Small Duck Duck .. each 6 ; Large Duck 7: Small Goose 9 Goose . . , , 1 1 I Large Gookc each 1 2 1 6 2 2 6 Double End Pocket Sable Brashes In Nickel-plated Gases, the Points being well protectee!. "sSggg^i -h Hffln 1 — ^^" ■« Ihl 5. d. S. d. Small size each 7 6 Large size each 101 Middle size i > 8 6 Extra Large i> 12 f 6 These may be had also in Solid Silver Cares. POCKET SABLE IN VULCANITE HOLDER With Quill Brush. s. d. I .9. d. Duck each 2 I Goose each 2 9 Flat Red Sable Wash Brashes Width l in. In Albata Ferrules. s. d. each 4 6 8 s. d. Width i J ir. each 12 ,, 3 ,, •• • • 16 24 No. 7 .. 8 Brown Sable Sky Brashes These Brushes are same pattern as Siberian Sky Brushes, No. g being equal to illustration, sec page 46 On Black Handles. Albata Ferrules. Extra Large Series. s. d. each 4 4 6 5 No. 10 . . ,, 1 1 . . ,, 12 . . each s. 6 7 9 d. 44 C. ROBERSON & CO., LTD., 90 LONG ACRE, W.C.2 BRUSHES FOR PAINTING IN WATER COLOURS— continued Fioest Sable Brushes Albata Ferrules, Polished Ebony Handles. Of Red or Brown Selected Hair. Flat or Round. s. d. I Nos. 0000 to 1 No. 2 ,, 3 ,. 4 ., 5 .. 6 each 8 11 1 2 1 4 1 9 2 4 No. each s. d. A 4 3 5 3 6 9 s 6 10 a Cosway 55 Red Sables Albata Ferrules, Polished Ebony Handles. Specially made for Miniature Painting, Short Hair and extremely fine points. Sizes and Prices same as above. Fine Quality Red Sables Nickel Ferrules, Polished Black Cedar Handles. Flat or Round. s. d. 5. d. Nos. and 1 . . each 6 No. 7 .. each 1 10 No. 2 . . 7 8 .. 2 8 ,, 3 •• >. 8 9 .. 3 6 ,, 4 .. , , 10 10 . . 4 6 ,, 5 •• 1 } 1 1 11 . . 5 6 ,, 6 .. This Oua litv also sunn 1 4 lied " Cc swa\ 12 . . " nattern at sai le nrir.es. 6 9 & i.55. I5& PICCADILLY, W.i, LONDON 45 BRUSHES FOR PAINTING IN WATER COLOURS— continued The " Cotixiaii 5 Water- colour Sable Finest Red Sable Hair, Albata Ferrules, Polished Ebony Handles. CROBERSON&CQUJ The "Cotman" Brush, as shown in the illustration, is of square build, very full, tapering to a chisel point, has large carrying capacity, giving crisp and delicate edge in washing. Invaluable to the Landscape and Marine Painter. No. 3, Small, each Is. 2d. ; No. 7, Medium, each 3s. ; No. 9, Large, each 5s. 3d. ; No. 12, Extra Large, each 10s. The "Naftel" or Foliage Brash Finest Brown Sable Hair, Short, Thin Flat, on Polished Black Handles. These Brushes are particularly useful for obtaining broken crisp touches as for Foliage, Grass, Feather, etc. They arc made specially thin and divide up into several points when charged with colour. Made in three sizes. Small, Medium, Large, each Is. 6d. Extra Fine Hog Hair Brashes Specially Prepared and made for Water-colour Painting. Round or Flat, Nickel Ferrules, Polished Black Handles. These Brushes come well to a point and have a firmness which other Water- colour Brushes do not possess. No. 1 Flat or Round each s. d. 10 No. 7. 1 ,, 8. 1 2 ,, 9- 1 3 ,, 10. i 4 ,, 11. 1 6 ,, 12. Flat or Round, each s. d. 1 9 2 2 (> 3 .*, (> 3 9 4 6 C. ROBERSON cV CO., LTD., , 1 6 No. i 3 4 5 6 Sizes same as Water-colour Sables, see illustration page 44. For cheaper quality, see page 47. & 155, 156 PICCADILLY, W.i, LONDON 47 BRUSHES FOR PAINTING IN WATER COLOURS-cviUinucd Seamless Ferrules, 6 in. Black Polished Handles. Round only. S. d. S. d. Nos. i, 2, and 3 per doz. 2 6 No. 9 . . . . per doz. 5 6 ,, 4, 5, and ,, 3 ,, 10 . . . . ,, 6 6 No. 7 . . . . ,, 4 ,, II .. ,, 7 6 ,, 8 .. .. ,, 4 6 ,, 12 .. .. ,, 9 6 For Siberian Camel Hair, see page ^0. Finest Siberian Caniel Hair Pencils Tied with Blue Silk and Silver Wire. Crow Quill Duck Quill Goose Quill Large Goose Cjuill Swan Quill, Small Middle Large each s. d. 2 3 4 6 10 1 3 2 Best Camel Hair in Quills Red Tie. Best Camel Hair Pencils, Crow Duck Goose s. d. per gross 12 18 27 Spoiige Brashes s. d. In Quill, wire bound . . . . . . . . . . . . . . each 8 In Nickel Ferrule, flat, » in „ 2 These Brushes are carefully made, and arc very useful in Water-colour Painting for picking out lights. Best Soft Cup Sponges . . . . . . . . . . . . each lOd. 48 C. ROBERSON & CO., LTD., gg LONG ACRE, W.C.2 BRUSHES FOR PAINTING IN WATER COLOURS— continued Finest Tanras or Ox Hair Brashes Nickel Ferrules, Black Polished Handles. Round only. Sizes as Sables, page 44. No. 1 eaeh d. 5 No. 7 . . 5 ,, 8 .. 6 9 • • 6 ,, 10 . . 7 ,, 11 . . 7 ,, 12 . . S. (/. eaeh 8 10 1 1 2 1 4 , , 1 6 Brown Siberian Fitch Hair Brashes Nickel Ferrules, Black Polished Handles. Round only. Sizes as Sables, page 44. No. 1 eaeh s. d. 5 No. 7 . . 5 ,, 8 .. 6 y • • 6 ,, 10 . . 7 ,, 11.. 7 ,, 12. . . s. d. eaeh 8 10 1 1 1 4 1 6 » t 1 9 Finest Ichneumon Hair in Long Quills Small Swan, 2s. 6d. ; Middle Swan, 3s. 6d. ; Large Swan, 5s. Meloncillo or Ichneumon Hair may be recommended as having more strength than Sable, and is of great use where crispness of touch is desired. Finest Ichneumon Hair Brashes Nickel Ferrules, Black Polished Handles. Round only. Sizes as Sables, page 44. No. 1 2 3 4 5 6 each s. d. 7 No. 7 8 t f 8 9 , , 9 10 10 . . 1 3 11 . . 1 6 12 . . each 5. d. 1 9 2 2 (> 3 4 5 & 155, i5*J PICCADILLY, W.i, LONDON 49 Hair Pencils for Writing, Etc. WRITING STRIPING en Lark .. Crow . . Small Duck Duck . . Large Duck Small Goose Goose . . Extra Large Small Swan Middle Swan Large Swan Goose each Red Sable Brown Sable Ox Hair Writers or Writers or Writers or Stripers. Stripers. Stripers. S. d. S. d. s. d. 6 4 — 7 5 2 9 8 — 1 1 9 3 1 6 1 — 1 10 1 1 4 2 1 3 5 3 1 9 7 4 6 2 6 9 6 9 3 6 1 1 9 5 1 4 Poster Lettering Brashes Pure Red Sable Hair. Seamless Nickel Ferrules, Black Polished Handles. s. d. s. d. s. d. 5. d. s. d. s. d. Price each . . 8 10 1 6 2 6 4 6 6 6 No. i 3 5 7 9 ii Round only 5© C. ROBERSON cN: CO., LTD., 99 LONG ACRE, W.C.2 U Gee- Stroke 55 Brashes for Letterinj Pure Red Sable Hair. Seamless Nickel Ferrules, Black Polished Handles. I in. wide I „ „ 3. each s. d. 9 1 1 2 1 8 I in. wide each Taurus or Ox Hair Seamless Nickel Ferrules, Black Polished Handles. s. d. I £ in. wide each i „ 9 9 9 1 \ in. wide each V Taurus Hair Brushes are considerably longer in the hair than Sable. See pages 1 19-120 for Ticket Writing Pens and Inks. .V- 155, 156 PICCADILLY, W.i, LONDON 5i fer Softeners No. 1 ., 2 .. 3 Wire Bound Quills, Red Polished Handles. s. d. each 1 6 No. 4 .. 2 ,, 5 2 6 I ,. 6 each s. d. 3 3 4 3 5 Camel Hair Mops on Handles Mounted in Quills, Wire Bound on White Wood Handles. Best Quality. s. d. s. d. No. each 1 No. 5 • • . . each 2 8 ,, 1 » 1 1 3 ,, 6 .. 1 > 3 ,,2 n 1 6 ,, 7 •• , , 3 9 -.3 •• , , 2 ,, 8 .. • 1 4 6 .,4 •• .. 2 3 , , 9 ,, 5 (> Fine Quality. s. d. s. d. No. 1 .. per doz. 9 No. 4 . . per doz. 16 . , 2 11 12 ,,5 •• pi 21 .,3 ■• •• 14 ,, 6 .. •• 24 No. o .. 1 .. 3 .. 4 No. 1 M 3 .. 4 Camiel Hair Mops in Quills Split Quills, Wire Bound. Best Quality. s. d. each 7 No. 5 • • , , 9 ,,6 .. , , 1 3 ,, 7 •• , , 1 6 ,, 8 .. " 2 Fine Quality. s. d. r doz. 8 No. 5 . . , , 10 ,, 6 .. , , 12 .. 7 •• 16 ,,8 .. s. d. each 2 6 3 3 4 5 s. d. per doz. 24 28 36 45 Short, Medium, or Long Hair, each 9d. C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 C. Roberson & Co» 5 s rashes 1 & 155, J 56 PICCADTLLY, W.r, LONDON 53 BRUSHES FOR PAINTING IN OIL COLOURS— continued Extra Fine Hog Hair As illustrated. Round and Flat. Nickel Ferrules, Yellow Polished Handles. The superior quality of the hair used in manufacture of these brushes has gained for Messrs. Roberson the great repute they hold for their hog brushes ; they desire, however, to warn their customers against inferior makes placed upon yellow handles, giving them the appearance of the original Roberson's Brush, which they by no means equal. Each. S. (I. No. 1 6 .. 4 3 „ 18 .. 5 „ 20 .. 6 Thin Flat and Short Full Flat (Bright's), same prices as above. Extra Fine Hog Hair Nickel Ferrules, Yellow Polished Handles. Short Thin Flat (" Herkomer "). Nos. oo & Each. s. d. o 7 No 5 Each. s. d. . 1 No. io . Each. s. d. . 2 4 No. i 7 ,, 6 . 1 2 ,, ii . 2 6 2 8 7 • . 1 6 ,, 12 . . 3 ,. 3 9 , , 8 . . 1 9 ,, 13 • . 3 6 .. 4 10 ,, 9 . 2 2 ,, 14 • . 3 9 Each. s. d. Nos. 00 & 7 No. 1 ..0 7 ,, 2 ..08 ,. 3 .09 .- 4 . . 10 Each, s. d. > 10 .. 7 • ■ > 1 8 ,, 11 . 3 4 • ■ 1 ,, 8 . ,, 1 9 ,, 12 . ,, 3 6 " Askew " Pattern same sizes and prices as above. 54 C. ROBERSON & CO., LTD., 90 LONG ACRE, W.C.2 BRUSHES FOR PAINTING IN OIL COLOURS— continued Fine Hog? Hair Nickelled Tin Ferrules, Red Polished Handles. Good quality Brushes, carefully selected Hair, made in the following shapes — Flat, Round, Short Thin Flat, Full Short Flat, Filbert. For sizes, see Illustration, page 52. s. d. ■To. 1 each 5 ,. 2 • > 6 .. 3 • .1 7 .. 4 • .. 8 ., 5 • .. 9 ,, 6 . , , 10 No. 7 9 10 11 each s. d. 1 No. 12 .. 1 3 ,. M •• 1 6 ,, 16 .. 1 10 ,, 18 .. 2 ,, 20 . . each s. d. 2 6 3 3 9 4 6 5 <) Fine Hog? Hair Nickel Tube Ferrules, Plain Cedar Handles. Good quality Brushes, made in the following shapes — Flat, Round, and Short Thin Flat Rounded Comers. No. 1 s. d. I each 5 No. 5 2 , , 5 ,, 6 3 • , > 6 .. 7 4 • . » 6 ,, 8 each s. d. 5. d. 8 No. • each 1 2 8 ,, 10 . , , 1 4 9 ,, 11 . , , 1 (> 1 ,, 12 . 1 9 Hog Hair Brashes Tin Ferrules, Hard White Wood Handles. A serviceable tool for Students' use, improves with wear. Flat, Round, and Short Thin Flat. s. d. s. d. s. d. No. 1 . each 4 No. 6 . each 5 No. 11 . each 1 ,» 2 ,, 4 , , 7 • ,, 6 ., 12 . 1 .* ,. 3 • 1 * 4 , , 8 . 11 7 ,, 14 • 1 9 -. 4 • , , 5 , , 9 • 11 8 ,, 16 . 2 3 ,. 5 • ». 5 ,, 10 . • > 10 155. 156 PICCADILLY, W.i, LONDON 55 BRUSHES FOR PAINTING IN OIL COLOURS— continued Extra Fine Hog Water-colour Pattern Brushes For Oil Painting. Finest Lyons Hair. Nickel Ferrules, Yellow Polished Handles. These are built to a point in the same manner as a Water-colour Brush. 5. d. s. d. s. d. No. i . . each 10 No. 5 . each 1 4 No. q . each 2 6 i. 2 1 o „ 6 . 1 6 ,, io . 3 .. 3 ■ 1 2 .. 7 • 1 9 ,, ii . 3 (» .. 4 • 1 3 „ 8 . 2 , , 12 . 3 9 The "Leighton" Brash Dome Pointed, as made for the late Lord Leighton, P.R.A. Prices as Water-colour Pattern (see above). The " Millais " Brash Made of the Finest Lyons Hair. Round String-bound Hog Tools, as originally made by Messrs. R. & Co. to the design of the late Sir J. E. Millais, Bart., P.R.A. C.R0BERS0NtC?L T _ o 4* s. d. s. d. s. d. No. i . each 1 No. 5 . each 1 6 No. 9 . each 2 (> .,2 1 2 ,, 6 . 1 8 ,, IO . 3 .. 3 • 1 3 .. 7 • 1 io ,, ii . 3 (i -. 4 • 1 4 ,, 8 . 2 3 , , 12 . 4 Hog? Hair Fan Most useful for straggled touches as for Hair, Feather, or Foliage. No. 2, each Is. ; No. 4, each Is. 2d. ; No. 6, each Is. 4d. 56 C. ROBERSON & CO., LTD., 90 LONG ACRE, W.C.2 BRUSHES FOR PAINTING IN OIL COLOURS— continued The a Orpein 59 Brash Nickel Tube Ferrules, Walnut Polished Handles. Built to the design of Sir William Orpcn, R.A., of selected stiff Hair, giving resilience and crispness of touch. s. d. s. d. s. d. No. 1 . . each 7 No. 5 . each 1 No. 9 . each 1 9 2 ,,0 8 ,, 6 . 1 2 ,, 10 . 2 .. 3 • ,,0 9 ,, 7 • 1 4 ,, 11 . 2 3 .. 4 • 10 ,, 8 . 1 6 ,, 12 . 2 U Fine Hog Hair Vamishiog Natural Polished Cedar Handles. Brashes for s. d. h in. wide 1* each 1 : , ! in. wide 2 ,, 2j ,, ,, 3 ,, ,, 4 ,, ,. each s. d. L 3 «> 4 6 5 9 6 9 9 Flat Hog Hair Varnishing Brashes Good Quality, White Wood Handles. 1 in. wide, each Is. ; i\ in. wide, each Is. 6d. ; 2 in. wide, each 2s. These Brushes will also be found very suitable for Enamelling. & 155, 156 PICCADILLY, W.I, LONDON 57 BRUSHES FOR PAINTING IN OIL COLOURS— continued Superfine Red Sable Brashes Nickel Tube Ferrules, Red Polished Cedar Handles. Stamped in Gold. A »-l j rSJ — . <-> 1 _> •*» o3 Z o , to o u-l pq o Oi o o J Short Thin Flat, Flat, or Round. Round. Flat. Short Thin Flat. Nos. OOOO s. d. S. i. 5. d. s. d. to i each 6 No. 7 each 2 2 No. 7 each 2 No. 7 each 111 No. 2 ,,0 8 ,, 8 ,, 2 10 ,, 8 ,, 2 6 ,, 8 ,, 2 3 ,,3 ,,0 10 ,, 9 .. 3 9 „ 9 „ 3 ,. ,, 2 9 ,.4 ,.11 ,, io ,, 4 9 ,, i" ,, 4 ,, io ,, 3 3 ., 5 ,14 ,, it ,, 6 ,, ii ,, 5 ,, ii ,, 4 3 ,, 6 ,,18 ,, 12 ,, 7 6 ,, 12 ,, 6 6 ,, 12 ,, 5 6 The Flat .Series include, at above prices, the following shapes — Flat as illustrated, and Full Short Flat (Bright's). Dome pointed the same prices as Round. 58 C. ROBERSON & CO., LTD., 90 LONG ACRE, W.C.2 BRUSHES FOR PAINTING IN OIL COLOURS— continued Fine Red Sable Hair Brashes Nickel Ferrules, Red Polished Cedar Handles, stamped Silver. Round or Flat, as illustrated, page 57. Round or Flat. 5. d. Round s. d. Flat. S. d. Nos. and 1 each 6 No. 7 •• ;ach 1 10 No. 7 •• each 1 8 No. 2 , , 7 8 . . , , 2 8 8 .. 2 3 ,, 3 •• ,, 8 9 • • , , 3 6 9 ■ • 2 10 .. 4 . •• , , 10 10 . . , , 1 6 TO . . 3 (> „ 5 •• , , 1 1 11 , , 5 6 ,, II 4 9 ,,6 " 1 4 12 . . •> 6 9 12 . . 5 9 Finest Red Sable Riggers Nickel Ferrules, Red Polished Cedar Handles. Round Brushes, extra Ion g hair for fine strokes or lines s. d. 5. d. No. 1 . each 6 No. 5 . each 1 4 No. 9 . . ,. 2 .. 3 ,,0 8 10 „/6 • .. 7 ■ 1 8 ,,2 2 ,, 10 . . ,, I J .. 4 1 1 ,, 8 . 2 10 ,, 12 . . each s. d. 3 9 4 9 6 7 6 Fieest Red Sable Fan Brashes Nickel Ferrules, Red Polished Cedar Handles. Brushes, extra long hair arranged " fan " wise, most useful for straggled touches, as for hair, feather, or foliage. No. 2, each Is. ; No. 4, each Is. 6d. ; No. 6, each 2s. 6d. Finest Tanras or Ox Hair Brashes In Nickel Ferrules, with Polished Cedar Handles. Flat and Short Thin Flat. Sizes arc those as Extra Fine Hog Hair, sec page 52. s. d. No. 9 . . each 1 9 ,, 10 .. ,, 2 ,, 11 .. ,,2 3 ,, 12 .. „ 2 6 s. d. s. d. No. 1 . . each 9 No. 5 . each 1 1 ,, 2 10 ,, 6 . ,, 1 2 ,. 3 • 11 ., 7 • ., 1 4 .. 4 • 1 ,, 8 • ,, 1 (. & 155. 156 PICCADILLY, W.i, LONDON 50 BRUSHES FOR PAINTING IN OIL COLOURS— continued Ichneumon or Meloneillo Hair Nickel Ferrules, Polished Red Cedar Handles. Sizes same as Oil Sables, page 57. These may be well recommended to those who require brushes of a strength between sable and hoe; hair. s. (I. s. d. No. 1. Flat or Round each 7 No. 7. Flat or Found each 1 9 2 . 8 8. 2 .. 3. „ 9 ,, 9- ,, 2 r> ., 4- 10 , 10. ,, A .. 5- 1 3 ,, 11. 4 ,, 6. ,, -■ 1 6 ,, 12. . 5 Brown Siberian Fitch Hair Brushes In Nickel Ferrules, with Polished Plain Cedar Handles. Made Round, Flat, and Short Square Flat, in Sable sizes. No. 1 ., 2 .. 3 .. 4 s. d. each 5 5 6 6 s. d. No. 5 . . each 7 ,, 6 .. ,,.07 ,, 7 •• ,, 8 ,, 8 .. ,,0 10 No. 9 . . each ,, 10 . . ,, 11 • • ,, 12 . . s. 1 1 1 1 d. 1 4 6 9 These Brushes being much cheaper, are a good substitute for Sable. The " Loey Kenip-Weleh 55 Brash No. o .. 1 ,, 2 No. o ., 1 2 Made in Fitch Hair, Domed Shape Full Flat. In Nickel Ferrules, with Polished Red Cedar Handles. Sizes and Prices as Siberian Fitch Brushes above. Brashes for Stencilling? Seamless Nickelled Tin Ferrules, White Wood Handles. s. d. each 3 ,,0 4 ,, 4 A s. d. each 3 No. 3 .. 4 ., 5 s. d. each 5 ,,0 6 ,,0 7 No. 6 ,, 7 s. d. each 9 1 3 3 4 Bamboo Handles. s. d. No. 3 . . each 5 ,, 4 •• ,, 6 ,, 5 •• „ 8 No. 6 . ., 7 • ,, 8 . each s. 1 T 3 d. 6 6o C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C. Drawing Papers Pattern Books may be had on application. Drawing Papers have always been closely studied by Messrs. C. Roberson & Co., greatest care being exercised in the selection of their Drawing Papers, and particular attention paid to the storage of same, an important fact too often neglected. Drawing Papers arc most sensitive to atmospheric influences, and the artist's best efforts arc liable to defeat if the paper employed is not properly seasoned and kept under correct conditions. Every confidence may be placed in the selection offered. Haod-iiiade Water- colour Paper A NEW BRITISH PAPER BEARING THE WATER MARK A Messrs. C. Roberson & Co., Ltd., desire to draw the attention of Water- colour Artists and other users of Hand-made Drawing Papers to the high qualities possessed by this new paper. In conjunction with the other leading Artists' Colour Makers Messrs. C. Roberson & Co., Ltd., have satisfied them- selves that in the process of manufacture only selected rag and pure gelatine size are used, and that everything likely to have a deleterious effect upon colour when applied to the finished sheet has been thoroughly removed from the pulp, consequently they recommend this with every confidence as a perfect Water- colour Paper. The considerable advance in price of other well-known makes of Water- colour Paper will prove the following list of prices on comparison to be attractive : Hot Pressed, " Not," and Rough Surfaces. Inches. Weight to Ream. PerQ s. uire. d. Per Sheet s. d. Royal . . 24 X 19 \ Thick 60 lb. . 12 9 6'. Imperial 30 X 22 Thin 72 ,, • 15 3 8 , , 30 X 22 Thick 90 ,, 17 6 9 1 1 30 X 22 Extra Thick 14° .. 24 6 1 2 Double El spharit 40 X 26| 133 ., • 26 6 1 3 Beam prices of " A. CM." Drawing Papers on application. & 155. 156 PICCADILLY, W.i, LONDON 61 Whatman's Haod-iiiade Papers Of the Best Quality. Weight to Ream. Per Siieet. PerQ aire. in. in. s. d. 5. d. Demy . 25 lb. . . JO X 15! 4.V 6 9 Medium 34 .. 2 2 172- 5 1 9 3 Royal 44 .. 24 :•: 19 6.V 11 9 ,, Thick 00 , , 24 X 19 9.V 16 6 ,, Extra Thick 88 ,, 24 X 19 1 r 24 3 Imperial 72 „ 3°2- :•; 22 11 20 Thick . . 90 30 2 :■: 22 1 1 24 3 ,, Extra Thick 140 ,, 30 h X 22 1 8 38 .. 200 ,, 30J X 22 2 9 57 • 300 30 i :•; 22 4 2 85 3 Double Elephant • 133 .. 40 X 26; 1 8 36 3 Do., Extra Thick 210 ,, 40 X 2b : / 2 6 54 Do., Extra Extra Thick . • 235 ,, 40 X 26^ 3 60 9 Antiquarian • 240 ,, 53 :■: 31 6 123 9 Ream prices on application. All the above, with the exception of Demy and Medium, in either Hot Pressed, Not, or Rough surfaces. Whatman's " Creswiek 55 Drawiej Paper Resembling the original Creswick Paper in tint and texture. Weight to Ream. Imperial . . 1 10 lb., Not and Rough Double Elephant 210 ,, ,, ,, Per Sheet. lYr Quire in. 111. 5. d. s. d. 30.! X 22 . 1 5 29 9 40 X 26| . . 2 7 54 Whatman's Vellem Paper Weight to Per Sheet. Per Quire. Size. Ream. in. in. s. (/. S. d. Royal, Thick .. <;o lb 24 x 19.I .. 13 27 6 Imperial, Extra Thick 130,, .. .. 30^x22" .. 110 40 This paper made expressly for illuminating, etc., hand-made, very smooth, ivory toned, the best substitute for genuine vellum. a ine 55 Paper A Vegetable Parchment very suitable for Illuminating, Lamp Shades, and Christmas Cards. Per Sheet. Per Quire. in. in. s. d. Thiii 25^ x 20 . . 10 18 Thick 25 J x 20 .. 10 22 Continuous, ^ in. wide, per yard Is. 8d ; per roll of 20 yards, 30s. Pattern Books on application. 62 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 This paper is of even texture, moderately absorbent, tough to bear repeated washing, durable, thoroughly sized, and perfect in finish. No Bleach or Chemical of any kind is suffered to enter into the manufacture, as it is composed mainly of soft Linen rag of a natural colour, requiring no artificial bleaching. The paper is made " seamless," i.e. is never hung, but is dried flat, both in watcrleaf and in size, and is finished " Not," " Rough," and " Hot Pressed." The Registered Watermark appears on each sheet, " UNBLEACHED ARNOLD." Size. Demy Royal Imperial Double Elephant Weight 111. in. per Ream 20 X I5i 25lb. 24 X 19 44 .. 24 X 19 60 ,, 24 X 19 88 ,, 30 x 22 72 .. 30 X ■2.2. 90 ,, 30 x 22 140 ,, 30 x 22 200 ,, 30 x 22 280 ,, 40 X 26J 130 .. 40 X 26£ 235 .. Per Sheet. Per Quire s. d. s. d. 3£ 4 8 5i 8 11 8£ 12 9 1 18 7 10 15 8 1 18 7 1 6 29 2 2 3 44 3 5 65 7 1 6 27 10 2 8 46 9 Hand-made Tinted Drawing Papers Imperial, 30 x 21 in. Not Surface only. " A " Tint, Cream 721b " E " Tint, Fawn 72 " G " Tint, Pale Grey 72 " V " Tint, Deep Buff 72 Swan, Blue . . . . . . . . . . 72 Abbey, Warm Grey . . . . . . . . 72 Turner Grey, Blue Grey . . . . . . 90 Landseer, Grey . . . . . . . . 140 Brangwyn, Semi-absorbent, Grey, 25 x 20 in. . . ,, ,, Mounted on Cartridge Varley, Buff with Brown Flecks, Imperial A number of the above Papers are named after the artists who particularly affected them. Per Sheet, s. d. Per Q A. uire d. 10 19 10 19 9 10 19 10 19 (» 10 19 10 19 1 22 6 1 8 36 4 7 (> 9 16 6 1 21 8 Pattern Books on application. & *55, 156 PICCADILLY, W.i, LONDON 63 a ')) er Semi- absorbent Paper for Pastel or Water Colour. Rough, Not, Hot Pressed, Sailcloth, Canvas, Blue Rough, and White Not surfaces. Per Sheet. Pur Quire, s. d. s. d. Imperial, 31 \ X 12 J in. 6 12 Camsoii Paper A French Paper, Hard-sized, suitable for Body Colour or Chalk Drawing Made in Black, White, and various tints. Size, 30 X 22 in., per sheet, 6d. ; per quire, lis. Holliogwoitfa. Kent-made Drawing Imperial Double Elephant 130 ,, Per Sheet, s. d. 72 lb. to the Ream, Hot Pressed or Not 6 90 ,, ,, ,, ,, 8 11 Per Quire, s. d. 10 15 20 Goodwin, Thick Smooth, Hand-made Studio, Thin Smooth, Hand-made Cambric, Surface Thick. . Cambric, Surface Thin . . Bushey, for Pen and Ink Bank Post, for Pencil . . Lettering Paper, Smooth Canvas Grain, for Water Colour ears in. in. Peri: >heet. d. PerQ uin d. 2 5 X 20 1 22 22 X 17J ■ 4 7 21 X IO.I . 3 4 6 21 x 16.1 . 2 3 6 18J x 14J . 1 21 X 16! . 1 33 X 21 2 3 30 X 22 6 10 Cartridge Paper, with Grey Rulings, size 22| x 17| in. Scale. -} in., 1 in., & in 1 i " • Pattern Books on application. Per Sheet, s. d. Per Quire S. d. 3 5 3.V 5 6 6 10 6 64 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 No. Weight per Ream. in. in. Per s. Sheet. d. Per Quire. d. P« £ Net. r Keain. s. d. IOO. Royal, White 42 lb. 24 x 19 1! 2 6 1 15 IOI. Imperial, White 60 ,, 30 X 22 2 3 2 5 103. ,, Best White, Rag 63 ,, 30 X 22 4 7 6 6 105. ,, Thick .. 90 ,, 30 X 22 3 4 6 3 7 6 109. ,, Pure White, Not 72 ,. 30 X 22 3 4 6 3 15 no. ,, Hot Pressed 72 ,, 30 X 22 3 4 6 3 15 107. Dble. Elephant, White 160 ,, 40 x 27 5 8 () 6 Maehime-niade Crayon Paper Best Thick Paper, made in 15 Shades. Size 30 x zz in., 90 lb. to the ream . . per sheet, 6d. ; per quire, 10s. 6d. U A ^™ 35 Bright Coloured Papers suitable for Crayon or Poster Work. In 19 Tints. Size 30 x 22 in., 60 lb. to the ream . . per sheet, 3d. ; per quire, 4s. 6d. Chalk Drawing Paper Tinted Paper for School Work. 10 Colours. Size 30 x 22 in., 50 lb. to the ream, per sheet, lid. ; per quire, 2s. ; per ream, 35s. Matt Poster Paper Surfaced Paper in Black and various Bright Tints. Size 30 X 20 in. . . . . . . . . . . per sheet, 3d. ; per quire, 5s. In Rolls of 12 yards, 30 in. wide. Black only .. .. .. .. .. .. .. per roll, 4s. 6d. Pattern Books on application. & 155, 156 PICCADILLY, W.i, LONDON 65 ers Michallet, size 24 x 19 White only Ingres, ,, 29 X 21 i White, Blue Grey, Cream ,, ,, 24 X 19 White and 16 Tints . . Allonge, ,, 24 x 19 Cream .. Leighton, ,, 30 x 22 Dark, Warm Grey .. Lytton, ,, 31 x 25 Light Grey ,, 31 X 25 Buff ,, Buff, also continuous, 25 in. wide, 3s. per 6 yard length. Ream Prices on application. Per Sheet, s. d. Per Quire s. d. 3 5 3 5 6 2 3 6 6 10 6 2 3 6 10 6 6 10 6 Pastel Paper s Size. Per Sheet . in. in. 5. d. No. 1. Pumicif, White . . • 31 X 22 1 ,, 2. Buff • 31 X 22 1 .. 3- Blue Grey • 31 X 22 1 .. 5- Antiponce, Grey . . • 29 . 42 X 21 X 29 1 2 3 6 ,, 6. Velours, Grey Green • 29 . 40 x 20 X 29 2 4 ,, 8. Bluff .. • 29 . 40 x 20 x 29 2 4 .. 9- Antiponce, Buff . . • 29 • 42 X 21 x 29 1 2 3 6 ,, 11. Grey Felt • 31 X 22 6 Grey Felt, also continuous, 58 in. wide, at 2s. per ya rd. For these Papers mounted on Boards, see page 72. Cartoon Papers No. 16. 17- 18. 24. 25- 26. 32. 33- 35- 36. 37- er Yard, s. d. R.A." Stout White Surface Dark Brown Thick White Extra Thick White, Smooth Pure Rag, White, Water-colour Grey Felt Brown Burne- Jones Tint Cream Blue Grey Thin White, mounted on Cotton Pattern Books of above Papers on application. 6 30 in. 60 ,, 60 ,, 60 ,, 60 ,, 66 ,, 58 „ 54 .-, 58 ,, 40 er 25 Yard £ s. 12 1 4 1 4 1 10 10 4 4 ii 66 C. ROI3ERSON & CO., LTD., 99 LONG ACRE, W.C.2 Tracing Papers Thin White, free from Grease 2. Blue Shade, ,, ,, 3. Cream, Unglazed, prepared Vegetal. French Tracing, free from Grease 28 X 21 10. Thin White, free from Grease, 20 yd. roll 10. ,, ,, ,, ,, 20 ,, ,, 1 1. Thick Cream, 21 yd. roll 14. Parchment, Extra Thick, 21 yd. roll in. in. Per Sheet. s. d. Per Quire s. d. 20 x 30 40 x 30 30 X 20 40 x 30 30 x 20 28 X 21 3 5 4 4 8 4 8 5 3 10 6 6 12 , Paper. Width. Per s. Yard. d. Per Roll s. d. 30 in. 44 .. 40 ,, 30 ,, (t 5 7 8 7 6 6 9 11 9 6 Best Pure Rag, Tub sized . . Second Quality Width. Per Yard. s. d. 12 Yards, s. d. 50 Yards s. d. 30 in. 60 ,, 30 ,, 4 7 3 3 6 12 22 6 9 A.C.M. Tracing? Cloth 18 in. wide, in rolls of 24 yds. 30 ,. ,, ,, 24 ,, 40 ,, ,, ,, 24 ,, Per Yard, s. d. Per Roll s. d. 2 3 3 10 43 6 67 6 85 6 Transfer Papers Sheets zi\ X 17J -in. Black, Blue, one side Red, Yellow, one side Black, two sides Red, Blue on Tissue, free from Grease Black Lead, White Chalk, free from Crease Per Q lire s. d. 4 4 6 5 5 6 Thick . . Size 24 X Extra Thick ,, 24 x Per Sheet, s. d. Per Quire s. d. 4 6 6 6 10 6 Stencil Brushes, page 59. Stencil Knives, page 97. A: 155, 156 PICCADILLY, W.I, LONDON 67 These Blocks are made of selected paper compressed so as to form an apparently solid substance ; the leaves arc to be separated by passing a knife round underneath the uppermost sheet of paper. WHATMAN OR ARNOLD PAPER, EXTRA THICK. 140 lb. Imperial Not, Hot Pressed, and Rough. 20 Surfaces. 12 Surfaces. Whatman only, s. d. Imperial 321110 Size 5 X 31 M 161110 .. 7 X .5 Royal 8vo ,, 9 X 51 Imperial 8vo ,. 10 X 7 Royal 4to „ »i X 9 Imperial 4to .. 14 X 10 Royal Half ,, 18 X "4 Imperial Half ,, 20 X 14 each 1 2 3 4 6 7 12 18 d. 6 9 6 6 6 6 1 6 2 6 4 6 WHATMAN OR ARNOLD PAPER, THICK. 90 lb. Imperial. Not, Hot Pressed, and Rough. each 24 Surfaces. 12 Surfaces. Whatman only. Imperial 321110 Size 5 x 3! . ,, 1 61110 , , 7*5- Royal 8vo , 9 X 5J . Imperial 8vo , IO x 7 . Royal 4to , ,"1X9 • Imperial 4±o , , 14 X 10 . Royal Half , 18 X IlJ . Imperial Half ,20 X 14 . . s. d. 1 3 2 2 3 4 6 9 12 WHATMAN OR ARNOLD PAPER. 72 lb. Imperial. Not, Hot Pressed, and Rough. 24 Surfaces 12 Surfaces Whatman only in. in. s. d. s. d. Imperial iGmo Size 7X5.. each 1 9 1 Royal 8vo .. 9 X 52 •• 1 > 2 3 1 6 Imperial 8vo ,, 10 X 7 . . ,, 3 1 9 Royal 4to „ "ix 9 •• ,, 4 2 6 Imperial 4to ,, 14 X IO .. 5 6 3 3 Block Cases Half Bound Cloth Covers, Leather Back and Corners. Pocket for Sketches. in. in. s. d. Imperial i6mo Size 7X5.. each 4 6 Royal 8vo ,, 9 X 5* • • 11 5 (> Imperial 8vo ,, IO x 7 • . . . . , , 6 6 Royal 4to „ iilX 9 • ■ • • • >• 7 (> Imperial 4to ,, 14 X 10 . . 9 U The sizes quoted above are the sizes of the block which the Case will enclose 68 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 SOLID DRAWING BLOCKS— continued A.C.M. PAPER, EXTRA THICK. 140 lb. Imperial. Not, Hot Pressed, and Rough. Imperial 20 Surfaces. 12 Surfaces. in. in. s. d. s. d. Imperial i6mo Size 7 X 5 . . . . . . each 1 9 1 4 Royal 8vo ,, 9 X 5} 2 9 — Imperial 8vo ,, 10 x 7 . . . . . . ,, 3 3 2 6 Royal 4to ., n| x 9 ,, 5 — Imperial 4to .. J 4 X 10 . . . . . . ,, 6 4 6 >> Half ,, 20 A.C.M. PAF X 14 ,, 13 6 10 ER, THICK. 90 lb. Imperial. 24 Surfaces. 12 Surfaces. in. in. s. d. s. d. Imperial 321110 Size 5 X 3} .. . . . . each 1 9 ,, i6mo .. 7 X 5 16 1 Royal 8vo ,, 9 X 5i .. 2 3 1 4 Imperial 8vo ,, 10 X 7 ,, 2 9 1 8 Royal 4to ,. "4 X 9 4 2 4 Imperial 4to .. 14 X 10 . . . . . . ,, 5 3 Royal Halt- ,, 18 X 1 1 \ 8 6 — Imperial Half ,, 20 A.C.M. x 14 116 — PAPER. 72 lb. Imperial. 24 Surfaces. 12 Surfaces. in. in. s. d. s. d. Imperial i6mo Size 7 X 5 . . . . . . each 1 6 10 Royal 8vo ,, 9 X 5 £ „ 19 1 Imperial 8vo ,, 10 X 7 2 6 1 6 Royal 4to „ "i X 9 . . . . . . ,, 3 3 1 9 Imperial 4to .. 14 X 10 . . . . . . ,, 4 6 2 9 Other Papers also stocked in block form. Cartridge Paper Block 20 Surfaces. in. in. s. d. Imperial 161110 Size 7 X5 e ach 6 Royal 8vo ,, 9 X 5 J 8 Imperial 8vo ,, 10 X 7 9 Royal 4to „ II* x 9 11 Imperial 4to .. 14 X IO . . 1 2 - Half ,, 20 X 14 . . . . . . 3 Good Machine-made Paper. 20 Surfaces. i6mo Size 7X5 8vo ,, 10 X 7 4to ,, 14 X 10 each s. d. (1 8 1 1 (» Imperial Hot Pressed Cartridge Paper. 20 Surfaces. 161110 Size 7X5 8vo ,, 10 X 7 4to ,, 14 X IO each s. (t d. 8 1 1 6 & 155, 156 PICCADILLY, W.I, LONDON 69 .KETCH BOOK! In Brown Holland Covers. 24 leaves of 72 lb. or 90 lb. paper or 20 leaves of 140 lb. paper. each The above books are bound in the ordinary way, but have the outer edges fastened together as in solid blocks. Imperial 321110 Size 5 X 3i 161110 , , 7 X 5 Royal 8vo ,, 9 >: 5i Imperial 8vo ,, 10 :■: 7 Royal 4to ,, 1 1. 1 V 9 Imperial 4to .. 14 X 10 7- lb. d. 90 s. b. d. 1 .10 lb. S. d. 2 2 4 — 3 3 3 4 4 4 (, 5 3 5 6 7 6 7 7 6 9 6 9 11 6 13 Containing 38 leaves of gcod Cartridge Taper. Imperial 321110 Size 5 X 35 i6mo .. 7 X 5 Royal 8vo ,, 9 X 5 4 Imperial 8vo ,, 10 X 7 Royal 4to ,, 11 5 X 9 Imperial 4to ,. 14 X 10 each 1 1 () 2 2 6 3 (> 4 Whatman Holland Covered Sketch This series contains 30 leaves of 72 lb., 22 leaves of 90 lb., and 18 leaves of 140 lb. paper. Imperial Royal Imperial Royal Imperial 321110 161110 8vo 8vo 4to 4to Size 72 lb. go lb. I |() 11). 111. 111. s. d. s. 4- Imperial 8vo iof X 7 A 4 6 4 .. 5- Royal 4to , "I X 91 6 — 6 ,, 6. Imperial 6mo , 15 X 7 6 — — ». 7- , f 4to , 15 X iof 8 12 7 6 ,, 8. Royal Half i8i X "1 12 — 12 ,, 9- Imperial Half 21I X 15 ,, 16 24 15 ,, 10. Royal Full 23j X 18.J ,, 24 — 24 ,, 11. Imperial Full 30 X 2I| ,, 32 48 30 ,, 12. Double Elephant 39* X 26* ,, 84 — ■ — TINTED AQUARELLE TABLETS Thick boards faced with Hand-made Tinted Paper. Ingres Royal Imperial size White or Tinted White, Cream, or Blue Grey . each s. 1 2 d. 6 Turner Grey Abbey David Cox . . " Blue Grey Warm Grey Buff " 3 3 2 6 Creswick Vellum Landseer " Cream Smooth Cream . . Thick Grey ,, 4 4 4 S IB These are thin boards faced with A.C.M. paper, surfaces Not, Hot Pressed, or Rough, supplied in packets of 8 only. in. in. s. d. in. in. s. d. Size 5 X 3| . per packet 6 Size ii'\ x <)',.. per packet 2 6 „ 7i x 53 • 11 ,, 15 x iof .. 3 6 ,, 9i X 5! • 1 4 ,, 21} x 15 .. 7 ,, iof x 7 J . 1 9 , , 30 X 2 1 \ . . 14 Nos Pastel Boards Mounting boards covered with Pastel Paper, as on page 65. Small Imperial Size. 1, 2, and 3 5 and 9 . . 6 ,, 8 .. each s. d. 2 9 3 3 9 & 155, 156 PICCADILLY, W.i, LONDON 73 ROBERSON ; These boards possess an ideal surface for Fashion Plate work, making graduated washes easy of attainment. They are particularly suited for use with the Air Brush. For Black and White work generally they are highly recommended, and are in great favour with all who draw for the Press. These are the Original Fashion Plate Boards and must not be confused with boards of similar names which have been more lately introduced. They may be obtained in two surfaces, " A " Ordinary ; " B " Extra Smooth. Imperial Sizes. No. i. Per A07.. in. in. s. d. 30 x 21I . . 20 21' x 15 ..10 Each. S. d. 2 No. 3. 10 „ 6. Royal Sizes. in. in. 15 X ioj . rof x 7I . Vcr doz. s. d. . 5 . 2 6 Each, s. d. 6 3 No. 7. Per doz. in. in. s. d. 24 X 18 . . 16 Each. 1 s. d. 1 6 1 No. 8. in. in. 18 X 12 .. Per do/. s. d. 8 Each, s. d. 9 No. 9. 12 X 9 in., per doz. 4s . ; each 4.]d. Robersoo's Best Quality Bristol Size. 2 Sheet. 3 Sheet. 4 Sheet. 6 Sheet in. 111. S. d. s. d. s. d. s. d. Foolscap I 5 1 X I -' per doz. 4 6 7 9 Demy IS| < i 4 | , , 6 7 9 12 Medium 20 J x id. 1 , 7 6 10 12 16 Royal 2 2i! X 1 8} , , 9 12 14 18 Imperial 28| X 2 1.1 • 12 15 18 24 a Acre 9? Haod-iiiade Cards A scries of deckle-edged cards for painting in water colour, which may be obtained either single or folded, upright or landscape, and arc used largely for Greeting Cards and Menus. Per doz. in. in. s. d. Folded 1 4 10 3 .. 10 No. 1. Size 6.1 X 4 J .. 5~ X 4' „ 4 X 3 Vr gross, s. d. Per doz. S. d. Pt 1- gross, S. (/. 15 3 Single 8 7 9 11 6 6 5 9 9 6 ,,0 5 4 9 A box containing 12 assorted cards, each Is. 3d. Gold-edged Water=eoloer Cards Gold bevelled cards covered with hand-made water-colour paper, " Not surface. in. in. No. i. Size 4] x 3.J ,, 2. ,, 5 ;: 3I „ 3- -. 5* x 4j ,, 4- .. ( > l' ,,5. ,,8X0 Box containing 8 assorted Gold Fdge Per doz. Per 50. .,'. d. 1 6 6 1 9 7 2 3 9 2 9 11 4 16 d Cards, 2s . each. 74 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 Superfine Mounting Boards* White and 26 Tints 4 Sheet. C Sheet. 8 Sheet. in. in. s. d. s. d. s. d. Royal.. .. 24 X 19 .. per cloz. 7 10 14 Imperial . . 31X21 Atlas . . . . 33 x 26 Double Elephant 39 x 26 Double Imperial 43 X 31 9 14 18 21 30 24 36 33 Other sizes and substances may be supplied to order. Tinted Mounting Boards, Imperial, 6 sheet only kept in stock. Pattern Card of Tints on application. Tints may vary slightly owing to difficulty of matching in manufacture. FINE QUALITY 5. d. Royal 4 sheet . . . . . . . . . . . . per doz. 7 6 Imperial 6 ,, .. .. .. .. .. .. ,, 11 SCHOOL QUALITY 6 sheet. Mounted one side only. s. d. Royal White and Black . . . . . . . . . . per doz. 6 Imperial "White .. .. .. .. .. .. ,, 8 Tinted, 6 Tints ,, 9 Thin tinted boards, suitable for ticket writing, poster work, or for mounting photos, calendars, etc. Black, White, and 9 tints. Size 25J- x 20J in.. . . . . . . . . . each 4d. ; per doz. 3s. 9d. Thin ivory-tinted boards with a highly glazed surface. Size 25 x 20 in. . . . . . . . . . . each 5d. ; per doz. 4s. 6(1. Matt Boards, for Black and White Thin boards either White or Cream, with a Matt surface. Size 25 X 20 in. . . . . . . . . . . each 5d. ; per doz. 4s. 6d. White Drawing Cards in Packets 12 White Cards, 12 X g\ in., in packet. . . . . . . . . . each Is. Cut Out Mounts of all Descriptions Plain While, Whatman Surface, Tinted, Bronze, Cold, French Mcunts, tic. cut to order. & 1.55. 156 PICCADILLY, W.i, LONDON 75 Best Portfolios Cloth Sides, Real Morocco Back, and Outside Flap, Leather £rd Mill- board Inside Flaps. Without Lock . in. in. Quarto Imperial 16x11 Half Imperial 22 X 16 Royal 25 X 20 Imperial 31 X 22 Fitted with Patent Lever Lock, 5s. 6d. Self-supporting Portfolios and Box Portfolios in various leathers and woods can be made to customers' requirements. £ s. d. each 18 > » 1 12 it 1 17 u 2 15 Cloth sides and leather backs and corners. Imperial 4to 16 X 11 Half Royal 19 x 13 Half Imperial 22 X 16 Royal 25 x 20 Imperial 31 X 22 Atlas 34 X 26 Double Elephant 40 x 28 Stiff Flaps. £ s. d each 7 6 ,, 10 (> ,, 13 (> „ 17 „ 1 4 6 „ 1 7 6 „ 2 6 (» School of Art Portfolios Cloth Back and Corners, Grey or Marble Paper Sides, with or without Stiff Flaps. Plain. w th Flaps. in. in. s. d. s. d. Imperial 4to 16 X II . . each 2 3 3 Half Royal 19 x 13 ,, 2 6 4 Half Imperial 22 X 16 . . ,, 3 3 4 9 Royal 25 x 20 . . ,, 5 6 9 Imperial 31 X 22 . . ,, 7 9 Unless Grey is specially ordered, Marble Paper-sid cd Fol os with Fl aps wili be sent. Holdfast Sketching Boards An aluminium plate over which paper is stretched and held with clips. The extreme lightness and simplicity of construction have deservedly made these Boards very popular with artists. in. in. s. d. Complete with 6 Clips .. .. .. .. each 2 3 Size 10 x 7 ,, 14 X 10 „ 20 X 14 Extra Clips, each 2d, 7 6 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 With Japanned Tin Frame, to hold down paper in use. Half-bound with Leather Outside Flap, and Linen Inside Flaps or Pocket, to hold Loose Sketches or Reserve of Paper. Outside Frame. Flaps. Each. Pocket. Each. in. in. s. d. s. (/. Imperial 8vo 11} x 7I 10 11 Royal 4to 12 x 9 J 11 6 12 6 Imperial 4to 15 i X 11] 13 14 Half Imperial 22 \ x 15} 18 6 20 With the object of keeping the paper wet during the Sketch, two sizes with Inside Flaps are made with a surface of Sheet Aluminium. s. d. Imperial 8vo . . . . . . 12 6 4to 16 6 rova ;aoy With Polished Sycamore Hinged Frame and Pins. Very Light. By means of this Drawing Board, which is extremely light and simple in construction, a sheet of paper is easily and effectually stretched, no adhesive material being required. in. in. s. d. .. each 19 28 6 Imperial 8vo |fo III *5\ x X I 8 outside measure Polished Mahogany, raised Centre Panel. Washes may thus be carried right over, without obstruction from the rim. s. d. Imperial 8vo. 1 r } X Sin. outside measure each 19 Imperial 4to. 151x11 J in. outside measure each 28 6 Half Imperial. 22Xi5^in. outside measure each 42 & 155, !5 G PICCADILLY, W.I, LONDON 77 DRAWING BOARDS, T SQUARES, Etc. Architects' and Engineers' Drawim Tongue Jointed, One Edge inlaid with Ebony. Made of finest dry Pine, Mahogany Battens at back, and Brass Slots which allow for expansion or contraction of the wood. in. in. s. d. Imperial 32 X 23 . . . . . . . . . . each Double Elephant 41 X 28 . . . . . . . . . . ,, Antiquarian 54 X 32 .. .. .. .. .. ,, 27 40 55 Best Quality Deal Drawing Boards Clamped. in. in. s. d. Imperial 4to 16 X 11 i each 3 9 Half Royal 19 X 13^ 5 Half Imperial 23 x 16 7 Royal 24 x 19 10 Imperial 31 x 23 14 6 Double Elephant 41 X 28 BOARDS 27 6 CLAMPED AND TRIPLE DRAWING Clamped. Triple. in. in. S. (1. s. d. Imperial 4to 16 X II J . . each 2 9 3 3 Half Royal 19 x 13^ ,, 3 6 4 6 Half Imperial 23 X 16 ,, 4 9 5 3 Royal 24 x 19 ,, 5 6 7 Imperial 28 x 19 ,, 7 6 9 3 (full size) 31 x 23 9 6 11 3 By means of which Drawings may be reduced, enlarged, or copied. Pearwood, iGi in. long, with Pencil and instructions, in box . . each Pearwood, i8| in. long, with Brass fittings, Ivory point and Pencil, and instructions, in cardboard box Polished Boxwood, 20 in. long, with fully divided scale. Brass sliding fittings, etc. etc. 2 4 14 78 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 DRAWING BOARDS, T SQUARES, Etc.— continued Eegieeers 5 amd Architects 5 Polished 72 "OB c - Extra Finish. Tapered Blade Screwed on the Stock. Edge. Ebony 18 in. Blade 21 >■ ». 24 .. ., 54 in. blade, each 25s. PEAR WOOD T SQUARES French Shape. O I L 15 in. Blade 18 ., 21 ,, 24 ,. 31 .. 36 ,, each Plain English Shape. s. d. 1 3 Plain Polish od French Shape. English Shape. ,/. 2 4 6 (» 3 d. 2 3 2 9 BOXWOOD T SQUARES For Sketch Book use, 12 in. long, marked in £ths . . each 3s. POLISHED HARD WOOD STRAIGHT EDGES Brass Inlaid, one edge bevelled, divided inches and sixteenths. s. d. I s. d. 12 in. .. .. .. each 1 6 18 in. .. .. .. each 2 6 15 ,, .. .. .. ,, 2 1 24 ,, .. .. .. ,,3 3 36 in., 5s. & 155. 156 PICCADILLY, W.i, LONDON 79 Set Squares Best Quality. 45 Degrees. Go Degrees. Pear- Transparent Pear- Transparent Tree. Celluloid. Irce. Celluloid. s. d. s. d. 5. d. S. d. 4 in. . each — 8 4 in. . each — ■ 6 5 „ • — 10 5 ,, ■ ,,—08 6 ,, • „ 4 10 ,, . „ 4 10 7 .> • ,, — 14 7 .. • ,, — io 8 „ • ,, 6 19 8 ,, • ,,0513 9 ,, • 2 3 9 ,, • ,, — 16 IO ,, . „ 8 2 6 IO ,, . ,, 6 1 10 ii ,, . — 3 3 ii ,, . ,, — 23 12 ,, . ,,—39 12 ,, . ,, — 26 Schoe 1 (Juality Pear-Trce Set S quarcs — -Prices on application. THE " NEW FACILA " ADJUSTABLE SET SQUARE Arm 7 in., 7s. Arm io in., lis. 6d. Extra Thick Bevelled Edges. Pear Wood. 12 designs. From 6 in. to 14 in. Each lOd. Celluloid. Prices on application. 6 in. 9 ,, Best Quality, Brass Connectors. 5. d. ; . . each 1 3 j 12 in. . . 2 3 J 18 each s. d. 3 6 5 6 EBONY ROLLING PARALLEL RULES Brass Bridge, Plain Edges .. 12 in. long, 16s.; 18 in. long, 22s. 6d. 8o C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 DRAWING PIN! *T" Bevel Edge. Dome Top. BEST BRASS DRAWING PINS With Turned and Screwed Points of Sheffield Steel Plat Top. No. 11. ,, 12. ,. 13- Bevel Edge Dome Top No. 1. Brassed, Dome Top ,,2. ,, ,, 3. Brass, Flat Top, Riveted Point 8. ,, Bevel Edge, Riveted Point .. J 8. ,, ,, ,, Extra Long Point Diameter. Per gross. Per doz. in. S. (1. s. d. •• * 8 6 10 i 10 1 ft 11 6 1 3 •• * 12 PINS 1 3 WING Diameter Per gross. Per doz ID. s. d. s. d. 1 2 — ■ •• & 1 4 — A 4 5 •• * 3 9 5 fir 5 6 7 "BEST OF ALL" PINS A pin with handle attached to head, making withdrawal from a board an easy matter. Diameter. No. 1. Brass, Bevel Edge STEEL DRAWING PINS No. 1 ,,2 .. 3 Per gross. s. d. 12 11 10 per gross Per doz. s. d. 1 3 1 2 1 S. d. 8 10 1 1 5. d. Hook Pin. A steel pin with hook for hanging calendars, etc. per gross 1 9 Glass Pin. Box containing 12 pins with glass handles . . per box 9 Box of Drawing Pins. Containing 36 No. 1 Brassed Pins ,, 6 For packing wet canvases face to face, using a pin at each corner. 9d. per doz. 8s. per gross. .V i55, 156 PICCADILLY, W.i, LONDON 81 MATHEMATICAL INSTRUMENTS No. 1. in. Pupils' Metric Protractors, Scale of Chords, Line of Centi- metres, ami Inches divided I, ,'„, and t * a ,, 2. 6 ,, Students', 4 scale, Chords and Centimetres, Diagonal Scale ,, 3. 6 ,, Best Engine divided, 4 scale, Chords, Diagonal Scale, etc. ,, 4. 6 ,, Students', 8 scale do. do. ,, 5. 6 ,, Best Engine divided, 8 scale do. do. Boxwood. 5. d. 9 10 1 2 1 4 2 Half- circle Protractors 4 in. Semicircular, two rows of figures 4 ,, ,, ,, ,, Best quality 5 .. ., „ „ „ Brass. s. d. Transparent Engraved. S. d. 5 4 10 — . 9 Boxwood Mathematical Scales 1. " School," divided Inches, J, 1',,, i'._>, ^ , and Chords " Students'," divided Inches, etc., and Scales { , \, 1, 1 2 in. to foot, and Protractor Metric Scale, divided mm., ,'„ in. . . " Armstrong " Scale, Oval Section " Draughtsman " Scale, Flat Section . . " Universal " or " Builders' " Scale, Half Ova! Section " Architect " Scale, 17 Scales . . . . . . 2s. " Chain " or " Ordnance " Scales Offsets for above s r o. 1. 12 n >• '*■ 12 " .. 3- 12 ,, 4- 6 ,, 5- 12 ,, 0. 12 .. 7- 12 „ 8. 12 ,, 9- 12 ,, 10. 12 s. d. 1 1 3 1 (. 1 2 1 <» 2 2 and 2 A 2 (> 10 Draughtsman's Scales, set of 8 in cardboard case . . . . . . 16 Celluloid Rule, 12 in. Transparent, Bevelled Edges, divided Inches and Iths . . . . . . . . . . . . . . . . . . 16 >efaool Roles 12 in. Flat, divided Inches, J s , 2 3 (> 5 11 (> 8 9 5 6 5i 5h 5 5 in., Brass Screw Head, Round Steel Points Brass, Superior Quality with Bow Top Electrum, Steel Joint . . ,, Sector Joint ,, ,, ,, Hair Spring Pocket Divider in Metal Sheath s. d. 10 1 2 2 4 7 () 10 (> 4 sses 6| in., Brass, Fine Quality, divided lines only . . . . . . . . H 6| ,, Electrum, Superior Quality, fully divided Lines, Circles, Planes, and Solids, in Case . . . . . . . . . . . . . . 35 Chestermain's Riband Rule A semi-rigid 6 ft. Measuring Stick that coils into a holder 2 in. in diameter, that may be slipped into the waistcoat pocket like a watch. The scale runs automatically from the holder on the pressure of a finger, and on release the scale will be held at any desired extension, or it may be taken out and used separately. Supplied as a 6 ft. scale, marked inches and eighths, or as a 2 metre scale marked in centimetres and millimetres. Price 12s. 6d. each. 18s. 6d. each. The Farrand Rapid Rule & 155, 156 PICCADILLY, W.i, LONDON 83 4 in. Brass Compass, to take any size pencil 3 J ,, ,, ,, solid Brass Screw Head 3^ ,, Pocket Compass, with Reversible Point, takes any pencil 42 ,, Brass Bow Compass, Bow unscrews to fit over point, takes any pencil 5 1 ,, Heavy Brass Compass, takes an ordinary pencil . . " Titan." Brass Bow Compass, complete with Pencil, in Card Box . . A'. d. (. 9 10 1 (J 1 1 6 The " Ideal." 5 in. Electrum Compass, with reversible Pen and Pencil Points, Needle Point, and Box of Leads, in Cardboard Case . . 3 6 Bow Compass, Electrum 4 in. Needle Points, hinged Pen, Knee Joint . . 8 6 ,, ,, ,, 4 ,, ,, ,, Pencil, Knee Joint .. 7 6 ipriog Bows Spring Bow Divider, 3^ in., Steel Nut and Bolt, Needle Points ,, ,, Pen, 3| in., Steel Nut and Bolt, Needle Points ,, ,, Pencil, 3 1 in., Steel Nut and Bolt, Needle Points Set of three in Case School Set of three, Needle Pointed, complete in Case . . s. d. 3 6 3 3 16 7 Half Sets s. d. 6 4I in. Electrum Half Set, Knee Jointed Pen, Pencil, and Divider Points, lengthening Bar and Key, in Leather Case . . . . . . ..11 6 in. London made Electrum Half Set, in Snap Pocket Case, Needle Points, Sector Joints, Pen, Pencil, Divider, and Lengthening Bar. . 25 84 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 s. d. The Windsor. Japanned Tin Case, containing Brass Compass, Brass Divider, Metal Set Squares 45 and 6o°, Metal Semicircular Pro- tractor, 6 in. Wood Rule, and Pencil . . . . . . . . . . 2 Imitation Leather Case, containing Bow Top Tubular Brass Pencil, Compass and Divider, Nickelled Set Squares 45 and 6o°, Brass Semicircular Protractor, 6 in. Rule, India Rubber, and Drawing Pins 3 Mathematical Instruments in Cases l s. d. No. iE. Pocket Case, containing 5.I in. Electrum Half Set, with Pen and Pencil Points, Handle for Pen, Refill Leads, and Key .. .. .. .. .. .. 046 ,, 2E. Pocket Case, containing Instruments as above, with the addition of 5 in. Electrum Divider . . . . . . 6 6 ,, 3E. Pocket Case, containing Instruments as in No. iE, with the addition of Lengthening Bar, Spring Bow Pen, 5 in. Ruling Pen, and 3 in. Metal Protractor . . . . . . 8 6 ,, 4E. Pocket Case, containing Instruments as in No. 3E, with the addition of 5 in. Electrum Divider and Spring Bow Pencil 12 6 ,, 9. Polished Oak Box with Key, containing 6 in. Electrum Compass with hinged Nib Pen and Pencil Points and Lengthening Bar, Bow Pencil Compass, Spring Bow Pen, and Drawing Pen .. .. .. .. .. .. 250 ,, 40. Polished Oak Box with Key, containing the Instruments in set above, and in addition Bow Pen Compass, 3 Spring Bow Compasses, Hair Spring Divider, and 2 Drawing Pens 440 In addition to the sets of instruments mentioned, Messrs. Roberson have always a selection of Cases ranging in prices from 30s. upwards. & 155. '5^ PICCADILLY, W.I, LONDON 85 C. ROBERSON & CO.'S DRAWING PENCILS Explanation of Degree Markings. 6H, 4H, HHH Extra hard, for Architects and Engineers. HH Hard, for fine Outlines. H Moderately hard, for light Sketching. F Firm, for fine Drawing. FF Very firm, for Light Shading. HB Moderately hard and black. 13 Black, for Shading. BB Softer, extra depth of colour. BBB Very black, do. 4B, 5B ,, ,, but softer. 6B ,, ,, ,, with extra thick lead. T wopenny Drawing Pencils Hexagon or Round, Red Polished Cedar, Stamped in Gold. These Drawing Pencils are strongly recommended for general use j they work evenly and may be relied upon to correctly answer their degree and cut to fine points without breaking. In seven degrees, from HH to BBBB. s. d. s. d. Royal Sovereign Pencils, degrees 6H to 6B each 4 per doz. 3 9 Venus Pencils, degrees 7H to 6B .. .. ,, 04 ,, 39 Koh-i-Noor Pencils, degrees 6H to 6B ..,,0 4 ,, 3 9 The " Leighton 55 Pencils Made of Pure Cumberland Lead, in Plain Cedar, highly finished. Do. do. Shortened for Pocket, with Protector. Price 4d. each. Carbon Drawing Pencils This specialitc is a smooth working material, having the gradation of Black Lead, but free from reflection on paper. Made in six degrees. s. d. HH, H, HB, B, BB, and BBB each 4 BBB, Extra Thick Carbon ,, 8 86 C. RORERSON & CO., LTD., 99 LONG ACRE, W.C.2 DRAWING 'PENCILS— continued U PICCADILLY PENCIL The Piccadilly ■I 95 With Extra Thick Lead, length 4 in. Box of 6 Refills for do., Black, Red, Blue, or Green each s. d. 1 6 1 6 Indelible Black. Will not smear if wetted. Useful to Artists, Correspondents, etc. Price 3d. each. HARDTMUTH'S BLACK CHALK EVERPOINTED PENCILS s. d. Black Polished, Silver Stamped, Nickel Point Box of 6 Refills for above, in 5 degrees CONTE COLOURED PENCILS. Round Pencils in Coloured Polished Cedar. 60 different tints Cloth Case, containing 12 Pencils 24 48 „ 60 each 1 (» . . per box 9 EXTRA FINE s. d. ent tints . . each 4 4 11 I 20 It 24 t) ROBERSON'S COLOURED PENCILS A good Indelible Coloured Pencil for School Use. Card Case, containing 12 pencils 6 ,, ,, ,, 12 half-length pencils WOLFF'S "J" PENCILS A Thick Short Pencil for the Pocket. Three in a case, with Point Protector s. d. 2 1 1 s. d. 1 6 r For Sharpening Lead or Chalk Pencils. Ry its use the point may be retained, without constantly soiling the fingers as when a knife is emplovcd. s. d. Size 4^X2iin. .. .. .. .. .. .. .. each 6 ., 2" X 1" ,, ,, 3 & 155, T 56 PICCADILLY, W.i, LONDON *7 CHALKS, CRAYONS, Etc, For Drawing. Natural Italian Chalk (Grey-Black) Natural Red Chalk (Sanguine) White Chalk for Schools Coloured do. Eight Colours French Chalk in Cedar . . per oz. s. 1 1 d. per gross box 1 3 6 each (t 3 Large Round Chalks, 4 in. long by 1 in. in diameter, in various bright colours, Very largely used by Lightning Cartoonists and others. Black and White, each 3d. ; Colours, each 4d. Conte Crayons Black Conte Crayons, Square, Nos. 1, 2, and 3 ,, ,, ,, ,, Assorted in box ,, ,, ,, Round, Nos. 1, 2, and 3 ,, ,, ,, Glazed, Full or Half-tone White Conte Crayons, Square, Nos. 1, 2, and 3 ,, ,, ,, Round, ,, ,, Red Conte Crayons, Square, one Degree ,, ,, ,, Round, ,, Bistre Conte Crayons, Square, one Degree Round, V r gross. S. d. Per doz. s. d. 11 11 V 11 11 V 17 6 1 6 23 2 11 11 V 11 11 J 11 11 V 17 6 1 6 14 6 1 3 17 6 1 6 s m Black Conte Crayons, in Polished Cedar, Nos. o, i, 2, ,, ., ,, Extra " Velours," 7 in. long White Conte Crayons, in Plain Cedar, one Degree Red Conte Crayons, White Conte Crayons, in Polished Cedar, one Degree Sepia Conte Crayons, and Per doz. F.ach. S. d. s. d. 3 3 9 4 4 9 5 2 9 3 2 9 3 3 9 4 3 9 4 lance Velours, or Stunipinj Roberson's Sauce Velours, Black, in Glass Tube, Powdered or Solid Conte Sauce Velours, Powder only . . ,, Red Chalk and Black Lead, Powder only • ■ ,, Sauce in Foil, Small . . Pei doz. Each. S. d. s. d. 5 3 V 6 5 3h 6 5 3.V 6 3 10 k 4 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 CHALKS, CRAYONS, ETC.— continued Charcoal Crayons, or Compressed The attention of Artists in Black and White is drawn to these Charcoals. Their possibilities are unlimited ; from the roughest Sketch to the finest finished Drawing, they have all the charm of natural Charcoal with the added advantage of reliable gradation. Graded in Three degrees as follows: 1. Soft Grey. 2. Medium hardness and much blacker. 3. Hard and Black. In Boxes of 1 doz. Crayons . . . . . . . . . . . . per box lOd. Mr. Joseph Pennell wrote : " Compressed Charcoal is simply the best material for accurate detailed drawing or the broadest of effects that I have ever found, and I believe all other Artists who have tried it agree with me. In conjunction with your cambric paper and putty rubber, it is the most wonderful medium for black and white work that I enow." French Charcoal Messrs. following : C. Robcrson & Co. pay particular attention to the selection of the Sketching Charcoal in boxes of 12 sticks, 3d. ; bundles of 50 sticl Vine Charcoal, Best Quality, Mignonette, box of 25 sticks 5° .. .. ». »» ». Large Twig ,, 25 ,, 50 ,, Venetian Charcoal, Split Spindle Wood, firm, pithless, in box of 25 sticks Do. do. do. in box of 50 sticks .. Willow Charcoal, firm, Silvery Grey tone, box of 25 sticks Scene Painters', very thick, in box of 25 sticks Rougct, 3 degrees, Silver Binding, in box of 25 sticks . . ,, S: lidifee Gras, Gold Binding, in box of 25 sticks pel box 5. d. 8 5 10 5 19 (» 10 1 7 1 2 3 4 Bright Steel Crayon Holders, Stained Wood Handle Brass, Push-in Ends, with Polished Wood Centres ,, Double-ended, 6 in. long each s. ft. 4 1 6 6} s. d. 5 <> 6 5 3 6 s 4 6 & 155, 156 PICCADILLY, W.i, LONDON 8q ARTISTS 5 INDIA RUBBER Robmed, Soft White .. per piece Id., 2d., 3d., and 5d. ; per lb. Roberson's Hand-cut White .. .. .. per piece 9d. ; Roberson's Green Eraser .. .. .. ,, 6d. ; Kneaded Rubber, a Plastic Rubber for Erasing without Smearing. May be Moulded to a fine Point for picking out High Lights in Charcoal and Pencil Drawings per piece 2d., 4d., and 8d. ; ,, Nigrivorines, or Double-pointed Rubbers pcrpiecc Id. and 2d. ; ,, Best Para Rubber (Bottle), cut in pieces . . per piece 6d. ,, Ink Eraser, Grey . . . . . . . . . . per piece Tracing Cloth Eraser, Green . . Roberson's Vaodyek Eraser This Eraser is similar in nature to what is very* widely known in America as Art Gum. It has many advantages over ordinary India Rubber, because by its composition it crumbles very readily and does not worry the surface of the paper, it may therefore be used to clean prints on plate paper and similar surfaces that could not be touched with India Rubber. Vandyck Eraser has a very large field of use among Print Dealers, Collectors, and Librarians, besides having a multitude of uses in the household. s. d. Size 3 X 2 X 1 in. . . . . . . . . . . . . per piece 1 ,, 2 x i. 1 , x 1 ,, . . . . . . . . . . . . ,, 6 Erasing Shields Thin Transparent Celluloid . . . . . . . . . . . . each 8d. A thick soft Brown Fungus, with a Velvety Touch, it is most useful in Charcoal Work for Erasure. In pieces of varying size .. .. .. .. .. .. per oz. Is. 6d. Oval Folding Thumb-hole Palette, covered with Chamois . . each 2s. 6d. qo C. ROBERSON & CO., LTD., 90 LONG ACRE, W.C.2 MATERIALS FOR PASTEL PAINTING Lefraee's Best Soft Pastels The selection comprises an assortment of several hundreds of various colours or shades, each sold separately. The pastels yield freely without crumbling, and adhere firmly to paper or canvas. Prices are 2d., 3d., 4d., 5d., 7d., 9d., and Is., according to colour and to the intensity of that colour. BOXES OF SOFT PASTELS Complete box, containing 263 Pastels, including large Background Crayons, Soft and Half-hard Pastels Triple Bottom Box, containing 200 Soft Pastels Double Bottom Box, containing 156 Soft Pastels Flat Boxes, containing : s. d. I 132 Soft Pastels . . . . 16 40 Soft Pastels, short. . 100 ,, ,, . . . . 11 26 ,, ,, ,, 62 ,, ,, ..... 7 6 I 31 Soft Pastels, Black to White with intermediate Greys 31 ,, „ for Portraiture / s. d. 2 5 1 5 18 f> s. d. 4 6 3 3 4 10 PERMANENT PASTELS A series of Pastels selected to resist the action of light. Sold in Sets only. / s. d. Box of 84 Permanent Pastels .. .. .. .. .. .. 160 „ 168 ,, 2 12 6 BOXES OF HALF-HARD PASTELS These Crayons are firmer than Soft Pastels, and are used for the finer detailed touches. They are sold in Sets only. s. d. Box containing 100 Half-hard Pastels . . . . . . . . . . 14 50 „ 7 25 ,, 3 6 BOXES OF HARD PASTELS, POINTED In Round Cardboard Boxes, Pull-off Tops. Box containing 12 Crayons, 2s. 6d. ; do. 18, 3s. 6d. ; do. 24, 4s. 6d. ; do. 30, 5s. 6d. ; do. 36, 6s. 6d. CONTE PASTEL CRAYOLOR A Cardboard Box containing 12 Pastels, Holder, Stump, and Brush. These Pastels may be powdered and used with water as Water Colours. Per box, 2s. CONTE CRAYONS CRAYOLOR Boxes containing Half-hard Pointed Crayons with Holder. s. d. I s. d. Box containing 6 Crayons . . 7 I Box containing 24 Crayons . . 2 3 12 „ ..121,, ,, 42 ',, ..39 & 155, 156 PICCADILLY, W.i, LONDON Qi Pastel Papers A Series of Papers Specially Surfaced for Pastel Painting. Description and Prices will be found on page 65. Mounting Boards covered with Pastel Paper. Prices, sec page 72. Fixes perfectly any Pastel Drawing without impairing the Brilliancy of the Colour, per bottle 2s. 6d., 4s. For Pencil, Chalk, or Charcoal Drawings. s. d. per 1 oz. bottle 7\ Roberson's Preparation for Fixing , 2 ,, ,, 10 3 .. .. 1 2 .... ,,10 „ „ 2 9 ■ • •• ,,20 ,, ,, 5 Fixing Set, comprising 2 oz. bottle of Fixative and Metal Spray . . 1 6 Roberson's Apparatus, Hand Blower to project Continuous Spray, for large Drawings, in Slide Lid Mahogany Box, with Fixative and Cleaning Liquid . . . . . . . . . . . . each 13 6 5. d. 6 9 1 Nickel Plated, Folding Glass Arms with Metal Joint, in Card Box. . Solid Metal Diffuser (French made), Folding, do. I temps and Tortilloes Tortillons. Tissue Paper Small Grey 01 ,, Large ,, Stumps. No. 1 s. d. pci bundle of 12 4 A'hitc Paper . . " • 3 4 Paper, per doz. s. d. 81 10" Leather , each 4 5 11 (1 6 ,, 1 2 ,, 7 1 4 (1 8 ,, 1 8 10 ,, 2 1 1 , , , , 2 4 , , 1 3 92 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 ARTISTS 5 CHINA WARE 3 in. Oval or Oblong 4 5 ,. 6 , 7 . 8 , 9 , 10 , s. d. each 10 1 1 2 1 6 1 9 2 3 2 9 3 6 Size 3! X 2 in. ,, 4 X 2| ,, .. 4l X 2| „ s. d. each 8 10 1 3 For Architects, etc. 7} in. diam., 7s. 6d. each. sin llant Well Tiles 3 Wells and Slants. 4J x z\ in. 5 .. ,. 7-i X 4 ,, s. d. 1 3 3 Size 8 X 6 in. ,. 9X7,, ,, 10 X 8 ,, s. d. each 3 3 Size 11 X 9 in. • > 4 3 ,, 12 x 10 ,, 5 ,, 14 x 12 ,, s. d. each 6 6 8 6 14 & 1.55. 156 PICCADILLY, W.i, LONDON 93 ARTISTS' CHINA WARE— continued Slant China Tiles 3 Divisions, School Quality 3 , , Best 4 5 6 8 io 5 .» Centre Slant each s. d. 6 9 1 6 1 8 1 10 3 3 9 No. i Set, 2$ in. diameter Nests of Saucers Six in the Set. each s. d. 1 6 1 9 2 9 3 9 I in. diam. . . Tinting? Saucers s. d. s. d. 1 6 3 in. diam. . . per doz. 2 9 1 6 3i .. .. •• ,, 4 1 6 4 .. .. •• • • »> 5 2 per doz. 3-1 in., with 4 Divisions, each 4d. Alunnieiem Palettes s. d. Oblong Palette with Thumb-hole, Enamelled, size 8| X 5% in 2 6 Oval Palette ,, ,, ,, 12 in. long, with 9 wells. . 4 9 ,, ,, ,, ,, ,, 16 in. long, with 14 wells 6 3 94 C. ROBERSON & .CO., LTD., 99 LONG ACRE, W.C.2 Artists 5 Water Glasses 2 in. diameter by 2 in. deep 2f „ „ „ 2| ,, „ ,1 -j 1 cacl. s. d. 1 1 3 1 6 India Robber Water Bottles No. 1. \ pint ,. 2. 1 Bottles with screw stoppers, two rings. s. d. .. each 5 6 No. 3. it pints 6 6 J ,,4. 1 quart s. d. eaci 7 6 ,,9 6 Black Rubber Gup and Ring, lor attachment to Water-colour Box. i'. d. Complete each 2 Cup only ,, 1 6 Ring only >> 8 White Mackintosh Collapsible Gup and Rir g, similar to the above. s. d. Complete each 2 6 Cup only ,, 1 9 Wire Attachment , 1 6 X 6 in. 8 X 8 „ lo X IO ,, 12 X 12 ,, Ground Glass Slabs each i'. d, 1 in. For Use with Ground Glass Slabs. s. d. each 1 2 in. ■ • ., 1 oU 3 in., each 3s. 6d. s. d. each 1 9 ,20 & i 5 5. I5<3 PICCADILLY, W.i, LONDON 95 PALETTES FOR OIL PAINTING Fine Seasoned Mahogany, Oblong or Oval S in. 9 ., 1° ., I 1 .. I- .. 13 ., M .. 15 ., 16 .. each Oval. Oblong. s. d. s. d. 1 6 1 2 1 8 1 4 1 10 1 6 2 3 1 9 2 6 2 2 9 2 3 3 4 2 9 4 6 3 4 5 3 9 S. d. each 6 6 > t 8 6 Walnut, 13J- x 5 in., Closed i6| x 6| „ ,, With Metal Clip to prevent closing while in Use Antwerp Pattern. Polished Walnut or Sycamore. A. d. 16 in. each 12 18 ,, 14 l) 21 ,, 18 (l -4 -. 21 " Equilibrium n Palette Improved Antwerp Pattern with Lead Counter- poise, exceptionally well balanced. Polished on both sides. 19 in. 24 each I 5. d. 1 2 1 5 1 10 Plain Mahogaey 5 Walnut, or White (Pattern as Illustration, but without the Additional Balance.) Polished. Unpolished. S. d. 16 in. . . . . . . . . . . . . • . each 18 „ 20 ,, 22 ,, 24 .. Messrs. C. Koberson iS: Co., Ltd., have a very large stock of all descriptions of Palettes, other than those catalogued, and can also make to customers' own specifications. s. d. s. d. 9 — 10 6 8 12 6 10 14 6 11 6 16 12 6 9 6 C. ROBEKSON & CO., LTD., 99 LONG ACRE, W.C. The "Reynolds" Palette Polished Walnut or Sycamore 17s. 6d. This Palette is an exact replica of the favourite palette of Sir Joshua Reynolds, P.R.A., in Messrs. Roberson's possession. and Painting Knives With Best Steel Blades. V Palette Knives. I and z. 4. 5. Painting Kn 7 and S. ves. STEEL PALETTE KNIVES Length f Blade : 3 and 3! ii s. d. L. 4 111. s. d. ,\\ in. s. d. , in. S. d. Plain, Cocoa Handles Balanced, ,, Trowel Shape Plain Handle, Blade 6 X 1 in. .. 8 X ij ,, 1 4 2 1 9 1 6 2 1 9 1 9 2 2 each 1 2 2 2 3 9 (» STEEL PAINTING KNIVES Very thin Blades of specially tempered Steel. No. 1. No. 2. No. 4. No. 5. Small. Large, s. d. s. d. s. d. s. d. No. 7- Small. s. d. No. 8. Largr. s. d. As Illustrated ..36 36 36 36 4 4 IVORY PAINTING KNIVES Shapes similar to the above. Ivory Handle, with long Nickel Shank each 8s. 6d. & 155. 156 PICCADILLY, W.I, LONDON 91 Trowel Shape, serrated edge as illustrated Ordinary shape with curved blade, Small . . ,, ,, Large Solomon's Wire Scraper, as recommended and used by the Late S. J. Solomon, R.A. each 6 in. long HORN PALETTE KNIVES each lOd. 7 in. long s. d. 4 3 6 4 6 6 each Is. Od. itencil Knives and Erasers No. 1. No. 3. No. 5. No. 1. Two-edged Steel Eraser No. 6. No. 7. Stencil Knife, with plate for finger, in Sheath ,, ,, Deer's-foot Pattern . . ,, ,, as illustrated, in Sheath Lino or Wood Block Cutting Knife Monnteiitters 5 Knives Large, Best Quality, Handle and Knife complete. Knife only Small ,, ,, Handle and Knife complete. Knife only s. d. 8 (, 2 6 4 3 1 8 s. d. 1 1 9 .. 3 (l .. 3 (t .. 3 (> No. 1 K.45 1096 942 590 Gun metal Handle, 2 Blades Imitation Ivory Handle, 2 Blades Best Sheffield Steel . . Ivory Handle, Miniature Knife, 2 Blades, Best Sheffield Steel Nickel Handle, 2 Ring Opening Blades, Best Sheffield Steel 9 8 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 Height 18 in. 21 ,, ,, 24 ,, Table Easels Best Finish, Pegs and Tray. eal with Chain. Mahogany with Rack and Strut. S. d. s. d. 6 13 7 6 14 6 8 16 Oak Display Easel SERIES I With Fixed Tray. With SERIES II Loose Tray Pegs. and Height. 10 in. each s. d. 9 Height. 20 in. each s. d. 2 6 12 ,, , , 1 24 ., ,. 3 M .. ,, 1 4 -1 .- ,, 3 6 16 ,, , , 1 8 39 „ ,. 4 6 20 ,, 2 Artists 5 water-colour Desk Made in Stained Oak, with Board 23 i x 17 i in., in Hard White Wood. This Desk is indispensable in the Studio of the Artist in Water Colour or Black and White. The height being easily regulated by the adjustable rack, the desk is equally available when standing or comfortably seated, and may be placed at any required angle from horizontal to vertical ; it is quite rigid in any position. All requisites are readily at hand in the covered drawer at the right. Fitted with Hinged Tray with Bracket Support £5 5 Heavy Model in Fumed Oak, without Tray and with Board 25A x 21$ in. £4 17 6 & 155. 156 PICCADILLY, W.i, LONDON 99 Artists 5 Studio Cabinets Several Different Patterns always in Stock. Prices and Details on Application. Itudio Seats Walnut Colour, with Support for the Feet £ s. d. 3 13 6 These may be obtained with or without Drawers. Prices on application. Please give full particulars of requirements. C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 & 155. 156 PICCADILLY, W.i, LONDON 1TUDIO EASED Similar to Illustration No. i, page ioo. The Tray in these Easels is held in position by a Bolt and Spring. £ s. d. Stained Beech Easel, 23 in. wide, to carry a Canvas 52 in. high . . 2 Black Polished Easel, 23 in. wide, to carry a Canvas 52 in. high . . 2 10 Single Screw Easels See Illustration No. 1, page 100. £ s. d. Solid Oak, 23 in. wide, to carry a Canvas 54 in. high . . . . 6 16 6 ,, 25 ,, ,, ,, ,, 60 „ ,, .. ..770 ,, 27 ,, ,, ,, ,, 65 ,, ,, .. ..880 ,, 20 ,, ,, ,, ,, 71 ,, ,, .. ..8 18 6 Double Screw Easels See Illustration No. 2, page 100. These Easels have a Double Bar which inclines forward, and is worked by a separate Iron Screw. £ *. d. Solid Oak, 25 in. wide, to carry a Canvas 55 in. high . . . . 10 10 „ 27 ,, ,, ,, ,, 61 ,, ,, .. .. 11 11 ,, ,, 27 ,, ,, Superior Pattern with rising Frame which is inclined forward by a separate screw. Takes a Canvas 6 ft. 6 in. high. Illustration No. 3. . . . 17 10 In addition to those listed above, Messrs. Roberson have a large stock of Second-hand Easels of various patterns in perfect working order. Rubber Tyred Castors These Castors are desirable when the Easel is intended for use on Polished Floors or on Pile Carpets. i s. d. Set of 4, 1} in. in diameter .. .. .. .. .. .. 0106 ., 4.21 „ ,. 1 10 Griffes or Canvas Supports To incline a Canvas forward on an Easel. s. d. Brass Wire, Adjustable . . . , . . . . . . . . each 1 C. ROBERSON & CO., LTD., 09 LONG ACRE, W.C.2 r — m. No. 2. No. 8. Nos. 1 and ia. Box Easel. Easelcttc. Nos. 11 and 12. & 155, 156 PICCADILLY, W.I, LONDON 103 tending? Easels Sketching? Easels s. d. 11 6 9 6 8 Closing Easel, 6 ft. high, in Deal, Pegs and Tray, Lest Quality ,, ,, 6 ft. high, in Deal, Pegs and Tray, for .Students ,, ,, 4 ft. 6 in. high, in Deal, Pegs and Tray, for Students . Closing Studio Easel, stained Walnut, 5 ft. 6 in. high. This Easel has a Movable Tray permanently attached, a Sliding Block with an arrangement for tilting the Canvas, and a Locking Device which gives greater stability . . . . . . . . . . . . . . 15 White Wood, with Rack Rising Tray and hinged back leg, 5 ft. 6 in. high 20 Stained Beech, with Rack Rising Tray and Centre Bar, and hinged back leg, 5 ft. 6 in. high . . . . . . . . . . 35 s. d. No. 1 a. White Wood, 50 in. high, folding to 30 in., with Pegs and Tray 4 6 ,, 1. ,, 54 ,, ,, ,, 32 ,, superior make, with Hard Wood Top, Pegs and Tray . . . . . . . . 5 9 ,, 2. Walnut Folding Easel, with Adjustable Folding Tray which is permanently attached, 4 ft. high open, 27 in. closed . . 8 6 ,, 8. Polished Pine Easel, Telescopic Legs, adjustable at any height, Arm to incline Canvas forward at any angle ; 6 ft. high open, 40 in. closed. Takes up to 50 x 40 in. . . . . . . 32 6 ,, 10. White Hard Wood Easel, with Telescopic Legs, Rising Centre Bar which securely holds sketch, will carry up to 40 x 30 in., and one can paint standing ; 52 in. high open, 34 in. closed ; weight, 2 § lb 15 ,, 11. "The Bicycle " Easel, Walnut, Telescopic Legs, Rising Bar; 33 in. high open, 20 in. closed ; weight, 18 oz. . . . . 10 6 ,, 12. Beech Easel similar to No. 11, but larger ; 40 in. open, 29 in. closed ; weight, 2 lb. 1 oz. . . . . . . . . . . 12 6 ,, 13. Stained Hard Wood Easel with Inclining Bar, takes up to 40 X 30 in., and one may work standing ; 49 in. high open, 28 in. closed . . . . . . . . . . . . 27 6 Easelette, Stained White Wood Easel, adjustable from vertical to horizontal, may be used cither sitting or standing ; 02 in. high, and the Desk is 30 in. long .. .. .. .. .. 31 Box Easel, as illustrated, takes all the impedimenta for sketching, except Canvases, in a very portable form . . . . . . . . 55 104 C. ROBERSON & CO., LTD., 09 LONG ACRE, W.C.2 For holding Colour Box, Block, and Water Bottle. Ar- ranged for use by cither lady or gentleman 16 Superior Make, Square Beech, Brass Bound, with Leather Seat . . 32 These Umbrellas arc of the best work- manship and material. The Frames, combining strength with lightness, are covered in White or Grey Holland, all have Fan Joints and Wind Valves, and are fitted as follows : £ s. d. 26 in., Steel Ribs, Brass Sliding Joint (no Valve) . . 2 10 ;8 in., do., Brass Slid- ing Joint, Polished Stick, Steel Screw Spike " The Bicycle " Umbrella, a very light type, weight 27 oz., size when closed 26 in., complete in Linen Bag 3 30 in.,"" do., Brass Slid- ing Joint, Polished Stick, Steel Screw Spike . . 3 Extra large size, with Wind Valve and Movable Joint to suit direction of sun or wind, 35 in. Cane Ribs, Screw Spike to fasten in ground, and Bronze Slid- ing Joint to fix it at an}' required height 5 3 17 6 1 2 6 & 155, 15° PICCADILLY, W.I, LONDON 105 Four-legged Stools : 21 in. Round, Second Quality 24 ., Web Scat only for the above s. d. .with Web Seat 5 ,, 5 6 13 18 in. Hexagon, turned end 21 ,, 24 ., Canvas Scats for above Leather Seats for above s, Best Quality Canvas Seat. s. d. 7 7 6 Leather Seat. s. d. 20 22 ..8 each 2 6 :i in., 14s. ; 24 in. 16 Three-legged Stools : Canvas Seat. Leather Seat s. d. S. d. 21 in. Hexagon, turned cuds, Best Quality 7 18 24 ., 7 6 20 Canvas Scats for above . . each 2 6 Leather Seats for above .. .. .. 21 in., 13s. 6d. ; 24 in. 14 18 in. Round, Second Quality . . with Web Scat 4 6 — . 21 ,, . . . . . . . . . . ,, ,, 5 — 24 ., 5 6 — 21 ,, Hexagon .. .. with enclosed Canvas Seat 6 6 — Square Scat Camp Stool, Canvas Seat ..5 6 Square Beech, with Brass Corners, best Leather Seat, very Strong, 18 in., 21s. ; 21 in., 23s. ; 24 in. Strong Three-leg, Round, Polished Hard Wood, with Adjustable Screw and Loose Leather Seat, 24 in. Strong Threedegged Stool, 24 in. high, with Fixed Leather Seat; substantial though light s. d. 25 18 10 6 The Pocket Easel A Polished Aluminium Clamp, Hinged, will grasp a Canvas or Aquarelle s. d. Tablet, holding it in any required position on a walking or other stick, Jaws 2 J in. wide .. .. .. .. .. each 10 io6 C. ROBERSON cS: CO., LTD., 90 LONG ACRE, W.C.2 Life Size Lay Figures With Adjustable Stands. New and Second-hand Figures, for Sale and for Hire. In Walnut Wood, very Flexible. £ s- d. Horse, with Male Riclcr, mounted on a Stand .. .. .. ..1600 These Figures arc most skilfully articulated to allow of all absolutely natural movements, and will be found to render very great assistance in composition. Lay Figures, in Accurately Proportioned, Taking all the Attitudes of Life. 8 in. high, with Stand 10 ,, 13 16 ,, 19 ,, £ s. d. 17 (> 111 6 1 15 2 2 2 7 6 .. 3 Lay Figures, in White Wood 12 in. high, without St 15 ., 19 ,, 22 ,, 25 ,, ,. and each METAL LAY FIGURE s. d. 8 10 6 15 6 20 27 6 s. d. A Useful Figure, 7\ in. long, which by its method of con- struction is practically indestructible . . . . . . each 3 6 & 155, I5<5 PICCADILLY, W.I, LONDON 107 Waterproof Sketching Bags To carry Colour Box, Water Bottle, Sketch Book, etc. No. 1 . Canvas, to carry Block 10x7 in., Broad Web Shoulder Strap ,, 2. ,, ,, 14 X 10 ,, ,, 3. ., .. 16 X 12 ,, ,, ,, ,, 4- ,, .. 20 x 14 ,, ,, 5. Brown Waterproof, Lined and Leather Bound, to carry Block 10 x 7 in., Leather or Broad Web Strap, Swivel Hook ,, 6. Do. do. do. with Divisions .. ,, 7. Do. do. to carry Block 14 X 10 in. ,, 8. Do. do. do. with Divisions .. Any Special Bag made to order. 2 in. wide Web Shoulder Straps with Swivel Spring Hooks s. d. 8 6 11 (t 14 17 r> 12 u 15 16 18 6 4 Black Polished Glasses in Solid Leather Cases. s. d. 1 s. d. 2? X 2) in. 7 6 5§ X 4J in .. 21 6 3* X 2^ ,, 10 6 6i X 5i , . . 27 (» 4i x 3i .. 15 6 l\ X 5i . . 32 lilvered Dimieishiegf Mirrors In Solid Leather Cases. d. 1 4r X 3i in. s. 16 6 I 7I 5l in. s. d. 32 No. 1. .. 3- ,. 4- Diminishing. s. d. Circular, 1 \ in. diameter, in Leather Case . . . . . . 2 6 Square, 2J in., Hair Lined into Quarters . . . . . . . . 3 9 Circular, if in. diameter, Nickel Mount and Wooden Handle . . 5 Oblong, 3] X 2 in., Nickel Mount and Wooden Handle . . 12 6 Magnifying. s. d. No. 1. Circular. Diameter 2] in. Nickel Mount and Wooden Handle. . 5 „ 2. „ „ 2f ,, „ „ ,, ,,..60 ,, 3- „ „ 3s ,, ., .. ,. .... 7 6 Miniature Painters' or Wood Engravers' Magnifying Glass, diameter .] J in., mounted on Gunmctal Stand adjustable to any angle £2 10 io8 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 Modelling Stands £ s. d. With Revolving Top, in Beech, 44 in. high 3 Extra Strong, 17 in. Square Top (as illustrated) 4 The above Stands can be raised or lowered at will. Table Modelling Stand, in Oak, with Drawer and Revolving Top, 11 X 11 in.. . . . . . . . 1 Modelling Wax, Clay, Etc, per stick 7d. ; per lb. 9d.; 6d. ; Superior Modelling Wax, Red or Grey ,, White .. ,, ,, ,, Bright Colours . . Modelling Clay, Grey in Moist condition 7lb., Is. 6d. ; 14 lb., 2s. 9d.; 28 lb., 5s. ; 1 cwt. Modelling Clay, Grey, in Powder . . . . . . . . per cwt. Superfine Plaster of Paris in 7 lb. Bags . . . . . . per bag Modelling Clay not delivered free of charge. s. d. 4 6 5 9 10 16 16 1 9 Haribiitt's Plasticine Supersedes Clay as a Modelling Material, no water required, always cleanly to handle, improving with age and use. Grey, Red, Yellow, Blue, Light and Dark Green, Brown, Cerise, Mauve, Sienna, Black and White . . . . . . . . in lb. boxes Sample Packets of Various Colours . . . . . . . . each For large work any Colour supplied at cwt. rates. Rainbow Box, containing five assorted colours The Child's Delight, a cheap box for children or Kindergarten The Universal, Box of Plasticine and Tool The Complete Modeller, a Box fitted with Plasticine in Four Colours and all Requisites Plasticine Designer, a complete Outfit of Coloured Plasticine, Tools and Cutters, Boards, Roller, and Instructions plastic, s. d. 1 4 U s. d. 9 4 5 6 & 155, 156 PICCADILLY, W.i, LONDON log Robearsoiri's Gesso Powder A Powder which merely requires mixing with cold water to such a con- sistency that it will flow from a brush. This should be used for work of a low relief such as is seen on ornamented Italian frames, panels, and boxes. Higher relief than is readily obtainable by one application should be achieved by successive coats, and not by heaping up the first, as the paste will, of course, spread out and the details of the design would be lost. It may be coloured with water or oil colour, or by coloured bronze. When complete, a finish may be obtained by rubbing on Lustrene and polishing with a soft cloth or varnishing. Per Box Sample Box Lustrene Polish for use with Gesso White Spa Varnish, used as a finishing varnish Robersom's Gesso Paste This Paste has been produced in response to a demand for a paste which can be modelled with the fingers or by tools, and which will dry to the hardness of stone. The great advantage of this paste is that it may be applied to wood and other articles on which it is desired to obtain high relief, such as flower petals or leaves, not possible to produce from the powder. To obtain a complete intimacy with the articles to which it is to be applied, a thin cream should be prepared either from the paste or powder, mixed with a little liquid glue ; by using this as an intermediary any decoration will be firmly affixed. It may be coloured with any of the materials suggested for the powder, and varnished in the same way. The paste itself after drying hard may be reduced to its former consistency by soaking in water, and can therefore be used more than once. s. d. Sample Tin . . . . . . . . . . . . . . . . . . 13 i lb. Tin 2 2. .. 4 s. d. each 1 3 ,, 6 per tube 9 per bottle 1 3 Glitter Wax A coloured Wax which softens with the heat of the hand and can be moulded to thin transparent leaves. It is clean, does not smell objectionably, and is easy to use for modelling objects in their natural colour. Boxes with Modelling Tools, at 6d., Is., 2s., 10s. Single Sticks of Wax, Plain Colours, Id. each. Bronzes, Silver, Gold, etc., \\d. each. C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 Modelling Tools Boxwood, Well Made and Carefully Finished. 7 in. s. d. s. d. Boxwood Tools, Twelve Shapes each 5 6 8 Steel Modelling Tools, Assorted Shapes, each Is. 3d. Steel Rasps, Assorted Shapes, from Is. 6d. each. Extra Fine Boxwood Tools, each 6d. Wire Modelling Tools Strong Beech Handles, with round Iron or Twisted Brass Wire, well fixed and Wire Bound, six shapes in each size, as illustrated. 5 J in. 6 J in. 7 J in. s. d. s. d. s. d. Round Wire . . each 7 8 9 Brass Wire ,, 8 9 10 Extra Fine Wire Tools, each Is. 8 in. 9 in. 10J in. s. d. a", d. S. d. 10 1 1 6 11 1 1 1 6 s. d. 2 6 s. 3 d. 6 s. d. 4 s. d. 4 5 — 6 6 10 in. s. d. 14 in. s. d. 18 in. 5. d. Lance Wood, Curved Legs . . each Strong Beech Wood, Curved Legs, Mortised Joints . . . . . . ,, 3 6 Mahogany, with Curved Brass Ends to the Arms , — 59 — 7690 Boxwood Callipers, 9 in. Curved Arms, and Sliding Centre Arm in Kickellcd Steel, for measuring Reliefs or the Head . . . . each 10 6 Proportional Callipers in Brass .. .. .. 17 in., 27s. 6d. ; 20 in., 30s. & 155. 156 PICCADILLY, W.i, LONDON Articulated Metal Skeleton Figures Ball Jointed. May be placed in any position. Studied proportions, for the structural support of figures to be modelled in Wax or Plasticine. 12 in. high, 33s. ; 16 in. high, 37s. 6d. ; 18 im. high, 39s. 6d. The figures have adjustable upright metal supports on Oak Stands. Twisted Wire Annatores These figures have upright metal supports on Wooden Stands. s. d. Human Figure . . . . . . . . . . . . . . 6 in. high 4 6 Horse Figure Lead Wire in 3 Gauges for preparing Armatures 8 ,, ,, 5 10 ,, ,, 5 (> 1^ ,. 6 8 ,, ,, 9 6 per coil 1 3 PLUMB LINE Brass Plumb, Screw Neck, with Cord in Card Box. Is. each. BLACKBOARD COMPASSES s. d. s. d. 2 16 in 3 18 in. s. d. 3 6 or Rest Stick 48 in. Cane Stick, with Leather Pad Top . . 45,, White Wood Stick 36 ,, 2 Joint White Wood Stick, Single Brass Ferrules . 44 ,, 3 ,, ,, ,, Double Brass Ferrules. s. d. 1 1 3 2 6 3 6 s. d. Binding in Black, White, Brown, Blue, Green, Red, Crimson, Matt Black, Gold, and Silver, pebbled and plain . . . . per roll 6 Passepartout Rings . . . . . . . . . . . . per gross 2 ,, ,, in Card Box, containing 24 . . . . per box 6 Adhesive Hangers, in Packets of 1 doz. . . . . . . per packet 6 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 IMPROVED PRINTING PRESS / s. d. To take Impressions 14 X 9 in. . . . . . . . . . . 12 12 10 X 7 ,, 7 7 Case with Hinged Front and Top, to contain above, supplied to order. For use with above : Blanket, 3s. 6d. ; Cloth, 4s. 6d. ; Boards, 4d. each. No. 1. No. 2. *&3&>bZ2E Etching Needles, Thin, Medium, and Thick No. 1. Adjustable Needle Holder for the above . . Needles fixed on Handles Double-ended Needle . . . . Small 2s ,, 2. Double-ended Needle, Whistler Pattern . . ,, 3. All Steel, Single-Ended Needle, for Dry Points All Steel Needle, with Protector for the Pocket ,, 4. Steel Scraper on Handle Wilkie Pattern . . Steel Burnishers on Handle .. 5- ,. „ „ Wilkie Pattern Dry Point on Handle (Burin) Gravers of various dimensions in Handles Large each s. d. 6 .4 .* 2 ,i 2 1 9 2 4 4 4 4 3 1 9 & 155, 156 PICCADILLY, W.i, LONDON 113 ETCHING MATERIALS— continued All Steel Burnisher and Scraper ,, ,, Burnisher and Needle ,, ,, Scraper and Needle Roulettes, various textures . . Macbeth Needles, 2, 3 and 4 Points, Needle Heads only Hand Vices for holding Plates Mezzotinting Tools Handles for the above Etching Ground, Dark or Transparent Liquid Etching Ground, Dark or Transparent Stopping-out Varnish, Dark or Transparent Etching Paste for rebiting Spirit Lamp Tapers for Smoking the Plate Bordering Wax Surfacing Charcoal Oil Rubber Emery Paper . . Emery Powder . . Tripoli Powder . . Leather Dabbers for grounding plates Silk „ ,, „ ,, ..• .. Printing Ink, Black ,, ,, Frankfort Black ,, ,, Umbers, Siennas, and Sepia . . ,, ,, Red, Blue, Green, Yellow, Indigo . . Inking Dabber Palette Knives Rubber-covered Rollers . . . . 3^ in. long, Gelatine Roller for inking, etc. Printers' Canvas, Coarse ,, Muslin, Fine. . Porcelain Baths for biting the plates, sec page 92. Diamond Points, for Dry Point Sapphire Points, ,, ,, Ruby Points, s. d. 3 6 3 6 3 (> 10 XT set with holder 9 each 2 4 per inch 27 4 <> per ball I per bottle 1 1 I 2 6 10 per stick 1 6 per piece 1 3 per sheet 2 per bottle 6 Small 2s. ; Large 3 ,, 2s.; ,, 3 (t per tube 1 ,, 1 6 1 6 2 2 from 1 4 4s. 6d ; 7 in. long 6 6 6 per yard 1 ,, ,, 1 6 £ 5. d. each 3 3 1 1 (t 1 1 rime Size. 3 1 - x 2\ in. . . 4x3,, .. 5 X 3i „ .. 6X4,, Any size to order. Plates with Bevelled Edges extra. Copper Plates prepared with Etching or Mezzotint Grounds to order. Copper. Zinc. Copper. Zinc. s. d. s. d. Size. s. d. s. d. 9 5 7 X 5 in. ..2 9 1 4 1 7 8x6,, ..3 6 1 8 1 6 9 10 x 7 ,, (Stout) ..6 6 2 8 1 10 10 12 x 8 ,, ..9 3 4 Roberson 5 s Etching? Outfit A Mahogany Box, fitted with Tools, Grounds, Plates, etc. . . complete £3 3s. Od. H4 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 ETCHING MATERIALS— continued 1C These Special Plates are worked on with a Dry Point, but being of a softer composition than Zinc or Copper, they may be much more easily cut. The printing is done in exactly the same way as an ordinary etching. Size. s. d. Size. s. d. 3 J x i\ in. . . . . each 6 \ 6 X 4 in. . . . . each 1 3 4i X 2f , ,, 9 7x5.. .. 20 5 X 3 | 10 8x6 .26 Etching Printing Papers India Paper Japanese Paper, Tissue Thin Medium Thick Vellum New Etching, Toned Rough Plate Paper, White or Toned Van Gelder, Toned or White Lalanne Allonge^ Antique Toned White New Etching . . Size, in. in. 54 X 28 24! X 21 20 X 16 24 x 15 22 X 16 ii\ X 17^ 25 X 20 30 X 21} 22 X l8 24I x i8| 25 X 20 25 x 20 25 X 20 Per Sheet. Per Quire. S. d. S. d. 9 16 6 li 2 6 6 10 6 9 16 6 1 18 9 16 6 6 10 6 9 16 6 4 7 6 6 10 6 6 10 6 6 10 6 6 10 6 Pattern Books on application. Wood Block and Lino Cut Printing CHERRY WOOE BLOCKS LINO BLOCKS Size. S. d. Each. Per doz. 4 X 3 in. . . . . each 5 Size. s. d. S. d. 5X3,, 6 3 X 3 in. .. ..0 2 1 6 7x5,. • 8 6x4,, 7X5,, ..0 4 .0 6 3 6 5 6 8X6,, • t) 9 8x6,, .. ..0 7 6 6 9X6,, >. u 10 10 x 7 ,, .. 10 9 6 10 X 7 ,, ,, 1 12 x 8 ,, .. ..12 13 12 X 10 ,, » F 1 9 Other sizes cut to order. Boxwood, both end and side grains, Pear and other woods obtainable. on application. Books : " The Art of Etching " "Etching and Other Graphic Arts " " Etching, a Practical Treatise " . . Prices s. d. E. S. Lumsden 21 G. T. Plowman 15 Reed 7 6 & 155. 156 PICCADILLY, W.i, LONDON 115 WOOD BLOCK PRINTING, ETC.— continued Japanese Knife, with Adjustment for Wear Carbon and Tracing Papers, see page 66. Gouges, Chisels, Etc, Is. v N/ V U M- Nos. 43. 45. 54. 47. 4. All the above sizes on Handles Wood Engraving Tools, Spitstickers, Scorpers, etc. 16. 38. 40. . . each Is. 9d. . . each Is. 6d. Lino Cutting! Tools s. d. 2 <) 2 1 2 9 No. 1. Set of Tools consisting of Knife, Small and Large V Tools, and Small and Large U Gouges, on Handles as illustrated per box 2 ,, 2. Set of Tools as above on Pen Holder Handles ,, 3. Set of Tools as above with 1 Handle as illustrated Box containing 25 assorted Cutting Nibs, 3s. . . single Nibs, each Black Printing Ink . . . . . . . . . . . . per tube Black Stick Indian Ink, see page 7. Poster Colours and Oil Colours are both used for printing by many prominent Wood Block and Lino Cut Artists. Tissue (Japanese) Paper for Printing . . . . . . per sheet Thin „ „ ,, Any of the papers mentioned on page 114 may be used. Rubber-covered Rollers, for Inking and Printing 3$ in., 4s. 6d. ; 7 in. ,, ,, Small, for Schools Gelatine Rollers, for Inking and Printing Books : "Block-Cutting and Print-Making by Hand" Margaret Dobson, A.R.E. " Lino Cuts " . . . . . . . . Claude Flight " Wood-block Printing " .. .. F. Morley Fletcher "Lino Prints" .. .. .. .. Margaret Dobson s. d. n 6 6 6 1 2 6 12 6 10 6 8 6 2 6 u6 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 MINIATURE PAINTING The Miniature Polished Mahogany, with Folding Adjustable Desk net £1 15s. Od. Selected of the Finest Quality. Size, in. in. No. oo. if X i| . . each 3 j No. 6. 3# : . . each 2^ X i-ft 2| X i% 2j X 2 3- 2| X 2.V 4-3 X2| 5- 3i X 2| Larger Sizes in Stock, Unmounted or Mounted, with India Rubber on Mahogany Panel Boards. Prepared Vellem For Miniature Painting, Illuminated Addresses, etc. 5. d. Size , in. in. 1 3 No. 6 3f X 2j 1 6 .. 7 3l X 3 1 3 ,, 8 4l- X 3i 1 9 ,, 9 4l X 3| 3 <> ,, io 5X4 4 6 ,, ii 5i X 4j 5 6 ,, 12 6 X 4t s. d. 6 6 7 6 9 11 16 21 26 I) Size. 10 X 7 in. 12 X 9 ,, 14 X 10 ,, Size. 12 X 10 in. each Size. 16 x 12 in. 18 X 14 ,, s. d. each 10 12 Larger sizes can be obtained. Prices on application. PARCHMENT 5. each 2 d. Size. 14 X to in. 5. d. each 3 Size. s. d. 16 X 12 in. . . each 4 s. 6d. per £ pint. 12s. per pint. Stains in Powder Form, either Spirit or Water Soluble. Per Glass Tube, size of Illustration, Is. Marqiieterie Wood Stains These stains are specially prepared for colouring wood, and are much in favour with those desiring to obtain the effect of wood inlay. List of Colours. Ebony. Red. Oak. Walnut. Satinwood. Yellow. Mahogany. Olive. Price 8d Roberson's Special Outlining Black Box fitted for Marqueterie Work Special Quotations per Gallon. Green. Crimson. Grey. Purple. Rosewood. Pink. Blue. per bottle. LCk Is. per bottle. 8 colours, etc., 6s This paper may have designs painted on it with either waterproof inks, transparent water colours, or transparent oil colour thinned with turpentine. In most cases it is essential that transparent colours be used in order that they may be illuminated by the lamp inside. Per Sheet. Per Quire. s. d. s. d. Size 30 x 22 in. . . . . . . . . . . . . 6 10 „ 50 X 20 ,, 11 19 6 Silhouettes, cut in Black Paper, largely used for attaching to Lampshades, Assorted in Packets, 3d., 6d., and Is. & i 5 5, 15O PICCADILLY, W.i, LONDON 119 Automatic One-stroke Pens These pens are constructed for Rapid and Effective Lettering by what is known as the One-stroke method. Ticket inks, water colours, and poster colours are the most suitable for use in these pens, which should be filled by putting the colour in between the blades with a brush. In use the toothed blade should always be uppermost, and when not in use they should be kept in water to prevent clogging the teeth. PLAIN STRORE DENS 2 3 * 5 6 Produce the Colour used in full strength. Prices. Nos. 1, 2, 3, and 4, Is. each. No. 5, Is. 3d. No. 6, Is. 6d. BORDER PENS 5 9 22 EDGING pENS 1 2 for Borders . Ornamental Work .<$te Nos. 7, 8, 9, and 22, Is. 6d. each. No. 5, Is. 6d. For E&irg Cards Is. 3d. each. 120 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 The Block Letter Pen A pen similar in construction to the One-stroke Pen which makes the same width of stroke in whichever direction the pen is moved. Holds enough ink to write from 25 to 30 half-inch letters at one filling. Is. 3d. each. ONE-STROKE LETTERING A Folio containing 6 different alphabets, showing clearly how each stroke of each letter is made. 2s. per Folio. Ticket Inks These Inks have been produced in response to the constant demand of Ticket Writers for an ink which has a body suitable for use with One-stroke Pens or Brushes. In the following colours : Black, Red, Blue, Green, Yellow, Violet, and an J£xtra Thick Black. Per 2 oz. Screw-capped Bottle . . . . . . . . 7. J ,d. Extra Thick Black, per 2 oz. Bottle . . . . . . 9d. X'*^***■^^^4^^HJ^^^Jv^^^*■?^^^^-;^.'^#^^^^^^^^Hf^"Jf^^^HHH C. ROBERSON & CO. Ltd., London England (^) ARTISTS' Lithographic. Drawing & Lettering Pens. Mad* In England by WILLIAM MITCHELL, Birmingham. ^ * ^ gttw»»tttt tt tttt*ttM*attttatt»tt»WMttttttBtttt&ttttsi»» a tttttt».i No. 1 Card. 12 assorted Drawing Nibs, with 2 Metal Holders and 1 5. d. Handle . . . . . . . . 13 ,,2 ,, 12 Round Hand Nibs with Oblique Points, assorted, and Reservoir Holder as illustrated . . . . . . . . 9 ,,3 ,, 12 Round Hand Nibs with Square points, assorted, and Reservoir Holder . . . . . . . . . . . . 9 ,,4 ,, 12 Round Hand Nibs with Square Points, assorted, and 2 Interchangeable Reservoirs . . . . . . . . 6 A 155, 156 PICCADILLY, W.i, LONDON LETTERING PENS Round Hand Nibs, Oblique or Square N. Card of 12 Produce a width Script Nibs, line of even ■continued 5. d. per gross . . per box of 22 pens 4 9 2 jrees in all (). Per Box of 36 Pens of one degree ; Card of 12 Scroll Pens, with 1 Reservoir Holder. These ^5 Pens draw two lines simul- taneously and there arc nine degrees Per Box of 36 Pens of any one degree ,, 7. Card of 12 Rex Pens. Oblique Round Hand Pens with Short Upturned Points Poster Pens. 12 Pens, 3 each of 4 degrees with Penholder to take these Nibs Witch Pens, in 3 degrees, have a rolled over point, cannot cut paper surface, and therefore they may be used for writing on rcugh papers . . . . . . . . . . . . . . each 9 2 3 Drawing, Mapping, and Lithographic Pens GILLOTT'S No. O59. Lithographic Crow Quills : 12 Pens and 1 Holder on Card 290. Lithographic Pens, 12 Pens and 1 Holder on Card 291. Mapping Pens ; 12 pens and 1 Holder on Card 303. Victoria Pens, Lxtra Fine; 12 Pens and Holder on Card 2468. 12 Assorted Drawing Pens and 1 Holder on Card 2468. 6 1 162. n Assorted Rustless One-stroke Pens on Card 850. Long Shoulder Crow Quills, 12 Pens and 1 Holder on Card 1000. 12 very fine Drawing Pens on Card Card with 12 No. 659 Pens, each in Holder Box containing 3 No. 659 Pens Brandauer's and other Pens kept in stoc Per Card. Per Gross. S. d. S. d. 2 18 2 18 2 18 10 5 1 6 — 9 — . 1 — 2 6 24 6 — 3 6 — The Reservoir Holder The Universal Holder The Accommodation Holder No. 1003 Holder for 659 and 850 Gillott Pens ,, 403 ,, ,, 290, 291 Gillott Pens ,, 1005 ,, ,, 1000 Gillott Pens s. d. each 3 2 1 3 3 3 QUILL PENS Best Turkey, Goose, and Crow Quills . . . . per bundle of 25 pens 2 6 Reed Pens. Cut Indian Reeds each 3 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 Silver Points, mounted on Vulcanite Handles, in three degrees (Sainton pattern) . . . . . . . . . . . . . . . . each Set of three in case Prepared paper for Silver Point, 30 x 23 in., per sheet, 8d. ; per quire Prepared Cardboard for Silver Point, 25 x 20 in... .. per sheet Linen Bound Sketch Books, 32 leaves of Silver Point Paper 7X5 in., 2s. 6d. ; 10 x 7 in. Silver Point Blocks, 32 Surfaces . . . . . . . . 5 x 3J in. 7x5 in., 2s. ; 10 x 7 in., 3s. 3d. ; 14 x 10 in., 5s. 3d. 5 6 16 6 15 9 4 b 1 3 1C Lemercier's Chalks, Nos. 1, 2, and 3 ,, ,, Estompe ,, ,, Copal . . Ink Vanhymbeck's Ink Lithographic Ruling Pens Lithographic Brushes, see Designers' Sables, page 43. Lithographic Pens, see page 121. Korns. Lithographic Chalks in Pencil Form s. d. of 1 doz. 10 1 2 1 2 per stick 9 1 6 each 9 9 Artists 5 Smocks Well made of best materials. Brown Holland, for Painters, Sculptors, etc. each 1{ Foldiogf Rules Polished Boxwood with Brass Hinges. 12 in. 4-Fold Rule, divided inches and £ 24 ., divided inches, |, |-, fa, and -fe . . with Brass Edge, divided inches, £, |, t \, T \, and ^ inches and fa with scales f in., i in., f in., £ in., and 24 ,. 24 .. &m. •• •• The " Interlox " Sliding Rule, 3 ft. long, which gives instantaneous readings of the inside measurements of openings, etc. Surveyors' 5 ft. Measuring Rods, 2-Fold, Natural or Black 5 6 Students' Pattern Standard Pattern Engineers' Pattern s. d. 15 9 21 31 6 & 155, 156 PICCADILLY, W.i, LONDON 123 1 oz. Packets of Bronzes for use as decoration on wood, etc. Owing to the rapid evaporation of the medium, it will be found convenient to frequently mix small quantities of the bronze and medium rather than to prepare a large quantity which might set before the work is complete. Bronzes are supplied in the following colours : Aluminium. Copper. Green, Blue. Purple Black. Crimson. Gold, Pale. Pink. Blue, Light, and Green, Light. ,, Middle. Red. Dark. ,, Leaf. Deep. Silver. Citron. „ Bright. Orange. Violet. Per Packet Is. Med ium for use with the above, 2 oz. bottle lOd. Picture Wire, Etc, An exceedingly good quality Phosphor Bronze Wire of very great tensile strength. In coils of 25 ft. s. d. s. d. No. 1 . . . . per coil 6 ,, 2 ,09 „ 3 13 No. 4 . . . . per coil 1 9 ., 5 ....,,2 3 ,, 6 2 9 Picture Chain. Brass . . . . . . . . . . per yard 3 6 Picture Moulding Hooks. Brass . . . . . . per doz. 2 Wall X Hooks. The perfect Picture Hanger in 3 sizes per box 1 6 Transparent Celluloid. Used as substitute for glass in frames which are constantly moved and thus liable to damage. In sheets 55 x 24 in. 8s. per sheet. Cut pieces, Is. per square foot. PICTURE FRAMES Messrs. Roberson have always a very large selection of modern and antique mouldings in stock, and will be very pleased to give advice on mounting and framing, and to estimate either for single frames or for quantities required for exhibitions. The delivery and collection of pictures from all the London exhibitions are also undertaken. Miniature Frames, see page 117. I2 4 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 TANBARB BOOKS FINE ART! ON THE OIL PAINTING The Practice of Oil Painting. By Solomon J. Solomon, R.A. Oil Painting. By Harold Speed The Technique of Oil Painting. By L. Richmond Landscape Painting. By Adrian Stokes, R.A. The Art of Still Life Painting. By Herbert Furst The Art of Landscape Painting. By Leonard Richmond WATER-COLOUR PAINTING Water-Colour Painting. By A. W. Rich Technique of Water-Colour Painting. By L. Richmond and J. Littlejohns The Art of Water-Colour Painting. By F. B. Lintott The Art of the Miniature Painter. By Dr. G. C. Williamson and Percy Buckman How to Paint the Sea. By Kate Wilcox Water-Colour Painting. By Hullah Brown Sketching in Water-Colours for an Amateur. By J. Steuart PENCIL DRAWING, ETCHING, ETC. The Practice and Science of Drawing. By Harold Speed The Technique of Pencil Drawing. By E. Borough Johnson The Art of Drawing in Lead Pencil. By Jasper Salwey Sketching in Lead Pencil. By Jasper Salwey Sketching without a Master. By Hullah Brown How to Draw in Pen and Ink. By H. Furness Caricatures. By C. R. Ashbee Pen Drawing. By C. McGinnis Drawing for Advertisements. By W. R. M. Foster The Art of Pen Drawing. By G. Montague Elwood Etching and Other Graphic Arts, by G. T. Plowman The Art of Etching. By E. S. Lumsden A Practical Treatise on Etching. By E. H. Reed A Manual of Etching. By G. T. Plowman The Art of Painting in Pastels. By J. Littlejohns Wood Block Printing. By Morley Fletcher Block Cuttings and Print Making. By Margaret Dobson Lino Cuts. By Claude Flight Lino Prints. By Margaret Dobson ANATOMY, FIGURE STUDIES, ETC. Human Anatomy. By A. Thomson Human Anatomy for Art Students Figure Drawing. By R. G. Hatton The Human Figure. By R. Vanderpoel The Human Form in Art. By A. A. Braun Living Sculpture. By Bertram Park The Figure in Motion. By E. Muybridge Animals in Motion. By E. Muybridge Hieroglyphic Method of Drawing. By A. A. Braun The Artistic Anatomy of the Horse. By H. W. Armstead The Drawing and Construction of Animals. By W. E. Linton Woman in Nature and Culture. By P. Landon s. d. 10 6 21 21 15 21 (1 21 By Fripp and Thomson 10 6 21 21 nd 21 4 2 6 3 6 10 (> 21 12 7 6 6 6 4 6 21 6 () 7 (> 12 15 21 7 (> 7 6 16 8 6 12 6 10 (> 2 6 25 15 10 6 16 15 (I 21 27 h . . 27 U 15 12 U 1 10 b 25 & 155, 156 PICCADILLY, W.i, LONDON 125 STANDARD BOOKS ON THE FINE ARTS— continued DESIGN, LETTERING, ETC. Graphic Design. By E. Traffe The Composition of Pictorial Design. By C. C. Pearce Figure Composition. By R. Hatton A Method for Creative Design. By A. Best Mangard The Principles of Decoration. By R. G. Hatton . . Design. By F. R. Smith Perspective as Applied to Pictures. By R. Vicat Cole Perspective for Art Students. By R. G. Hatton . . Artistic Anatomy of Trees. By R. Vicat Cole Plant Form and Design. By Midgelev and Lilley . . Dress Design. By T. Hughes Fashion Drawing and Dress Design. By Mabel Hall The Studio Handbook of Lettering and Design. By S. Wells A Primer of Illumination. By Delamotte Writing, Lettering and Illumination. By E. Johnstone A Handbook on Lettering. By A. E. Payne MODELLING AND SCULPTURE Modelling and Sculpture. By Albert Toft Guide to Modelling. By E. A. Lauteri. In three volumes each MATERIALS, ETC. The Chemistry of Paints. By Prof. A. H. Church The Pigments and Mediums of the Old Masters. By Prof. A. P Laurie Painters' Methods and Materials. By Prof. A. P. Laurie The Enjoyment and the Use of Colour. By A. Sargent Colour in Art and Daily Life. By M. Bernstein 5. d. 21 12 6 10 6 10 6 10 6 2 6 15 6 15 10 6 12 6 10 6 12 6 6 8 6 3 6 15 17 10 21 10 6 7 6 Dean's Books . . . . . . . . 6d., Is., and 2s. each. Border Stencil Books . . . . . . . . . . Is. 6d. each. Complete lists sent on application. Stencil Paper, see page 66. Stencil Brushes, sec page 59. '26 C. ROBERSON & CO., LTD., 99 LONG ACRE, W.C.2 ART FOR ALL A Course of Drawing in Lead Pencil. By J. Littlejohns, R.B.A. Is. each. An English Village. Lettering and Design. Bridges. The Willow Tree. Faces and Expressions. Spring Flowers. Football. 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