Digitized by the Internet Archive in 2015 https://archive.org/details/abcguidetonnakingOOsawy % # # ^4 ^ ■m ^ 0 •• . • # • • '# ♦ • i t \ 4 k '# % i a \ r:. -# .J&'V leK^ym^ ( From a Nega-tive by W. J. BYRNE. Richmond. Surrey.) n V lUlDE L0in)8N PERMANENT PIGMENTS. By J. R. Sawyer. (DIRECTOR OF THE AUTOTYPE WORKS,) THE AUTOTYPE COMPANY, 74, NEW OXEORD STREET, LONDON, 1887, PRINTS Po PREFACE TO THE " A. B. C. " GUIDE TO AUTOTYPE PRINTING. HE Seventh Edition of the Autotype Manual being entirely exhausted it be- came a question whether I should simply revise it, writing it up to date, or, whether with the experience gained in the conduct of the bi-monthly demonstrations at the Autotype Works, it would not be best to remodel it with a view to setting out the working of the Autotype processes in a more simple form, and with special reference to IV. new and improved methods. I decided to adopt the latter course, and although I quite despair of giving an idea of the real ease and simplicity of Autotype printing by mere des- cription, yet I hope that a fairly careful student with the aid of this little book, and helped also by the fact that the Tissue may now be had sensitive ready for placing on the negative, will find success within easy reach. Before setting out the plan of this guide, it should be understood that the Autotype printing processes are not hampered by patents or restrictions of any kind ; any person is free to use Tissue, Transfer Paper, Temporary Support, and all other materials, and to prosecute the cause of permanent photography by the Autotype processes with- out let or hindrance. The introductory chapter, pp. i to 12 is simply a short sketch of the History of Autotype; the following pages are devoted to a description of the Tissues, giving their colours and characteristics, with the general principles upon which the operations are based. The next chapter treats of the best modes of cutting up and making the tissue sensitive to light; this may be omitted by those who purchase the Tissue in cut pieces already sensitized. The use of the Actinometer is explained in pp. 24 to 30 and general directions given as to the preparation of the negatives and exposure of the sensitive Tissue to light. The next few pages are devoted to the general principles of the development of the latent image, followed by pp. 35 to 40 des- criptive of the plant and materials required lor the Single Transfer process with very precise instructions for their use ; this is the VI. most important section of the guide, for if the printing and development of photographs in permanent pigments by the single transfer process first be thoroughly mastered, all the rest will come “easy as A. B. C.” Double Transfer from temporary supports of paper and opal is next treated of, and the applications of the process for the production of autotypes on various materials given with full working details. Formulae for the various solutions will be found at page 90, followed by a short description of the various means of making inverted or reversed nega- tives which forms the conclusion of the book. There are two illustrations, the frontispiece being an autotype from a negative kindly lent to me by Messrs. Byrne & Co., of Richmond, so well known for their lovely portraits of children ; the other illustration facing page 36, is by the Collotype process and represents Vll. the materials and plant used in Autotype printing, with the process of development in actual operation. More than a quarter of a century has elapsed since the first photographs in gelatine and pigment were produced ; these early works of the inventor, Mr. Swan, still remain, convincing proofs that Autotype prints are unharmed by the influences of light and chemical action, so fatal to all known forms of silver printing ; how greatly photography has benefited by the fact that its records can be rendered permanent as engravings, needs no proof, but in addition to this quality of permanency, the power of reproducing art works has been immeasurably increased by the fact that photographs may now be made in almost any pigment employed in art, and with a surface and texture in consonance with the original work. Vlll. Each year marks a steady rise in the popular estimation of Autotype Art, and its adoption for the production of copies of the works of the Great Masters contained in the picture galleries at home and abroad, its em- ployment by our great Museums, by the learned Societies, and by art publishers, is a sufficient proof that Autotype has made good its claim as an artistic and permanent method of photographic record. J. R. SAWYER. London, July, 1887. THE AUTOTYPE PROCESSES. CONTENTS. P. Introduction History OF THE Process Description of Autotype Tissues The Yarioiis Colours Ceneral Principles of Single and Double Transfer ... Cutting up and rendering the Tissue sensitiye TO LIGHT Materials required Mode of cutting up Best way of keeping Sensitizing THE Tissue Materials necessary Sensitizing Bath .. AGE I 2 I 2 13 u 16 16 17 17 18 18 X. PAGE Best way of sensitizing ... ... ... 19 Proper drying and keeping of Tissue ... 22 Temperature ... ... ... ... 22 The Exposure of the sensitive pigmented paper TO THE AGTION OF LIGHT ... ... ... 24 Apparatus and Materials ... ... ... 24 Description of Actinometers ... ... 24 Practical use of Actinometer ... ... 27 Ascertaining the sensibility of the sensitive paper 27 Preparing the negative for printing ... ... 28 Marking and estimating the tints required ... 28 Freshly sensitized paper not in the best con- dition ... ... ... ... 29 The continuing action of light ... ... 29 Development of the latent image ... ... 31 Preliminary references to support and develop- ment ... ... ... ... 31 General Principles ... ... ... 32 AVhy the two methods of single and double transfer should be necessary ... ... 33 Point of departure of the two processes ... 33 Development of Single Transfer Prints ... 35 Plant and Materials required ... ... 35 xi. PAGE Hot ^Vater Apparatus ... ... ... 36 Placing the Pla.nt and Apparatus for convenient working ... ... ... ... 36 Advantage in commencing with the single trans- fer process ... ... ... ... 37 Mounting the printed Tissue ... ... 38 The development ... ... ... 39 Development considerably under control ... 39 Fixing in the Alum Solution ... ... 40 Mounting and finishing ... ... ... 40 The Double Transfer Process ... ... 41 Materials required ... ... ... 41 Double Transfer from Sawyer’s Temporary Support ... ... ... ... 41 Application of the Waxing Compound ... 42 Mounting the exposed Tissue ... .. 42 Development and Inxing ... ... ... 43 Transfer of the Picture from the Temporary Support ... ... ... ... 43 Apparatus and Materials required ... ... 44 Description of the Autotype final Support ... 44 Placing the apparatus for the final Transfer ... 45 Directions for the final Transfer ... ... 45 XI 1 . Developing Pictures on Opal giving deeicati-: M ATI Surfaces ... ... ... 47 I'he artistic nature of Autotype Prints ... 47 Varieties of Colours ... ... ... 47 Varieties of Surface and Texture ... ... 47 The sort of Opal necessary ... ... 48 Materials required for the development of prints on Opal ... ... ... 48 AVaxing the Plates ... ... ... 49 Arrangement of the Apparatus ... ... 49 Mounting the printed Tissue ... . 49 Paying down several prints upon one Plate ... 50 i )evelopment ... ... ... ... 51 Correct exposures ... ... ... 51 Modifications possible in developing ... 52 'Transfer of the print from the Opal to the Final Support... ... ... ... 53 A})paratus and Materials required ... ... 53 The final transfer ... ... ... 53 Variations in treatment ... ... ... 53 1 )rying and Finishing ... ... ... 54 0 })al Plates not to be washed ... ... 54 Rt:su?viE OF Operations ... ...• ... 56 Xlll. PAGE Autotype Printing easy in practice ... ... 56 Autotype I )emonstrations ... ... ... 56 Operations necessary for Single 'Transfer ... 57 Operations necessary for l)oul)le Transfer ... 58 Adaptations of the Process of permanent PIGMENT PRINTING TO THE PRODUCTION OF PHOTOGRAPHS ON VARIOUS MATERIALS ... 6o Permanent Photographs on opal ... ... 60 Ditto on ivory as a basis for miniature painting 62 Ditto on drawing paper as a basis for work in crayon, water colour, Ac. ... ... 64 'Transparencies for the reproduction of negatives, or for the making of enlargements ... 66 Photographs in pigment for window transparencies 68 Useful HINTS IN PIGMENT PRINTING ... ... 71 'To print in skies ... ... ... 71 'To print in backgrounds ... ... ... 73 'Trimming the prints ... ... ... 75 Mounting the prints ... ... ... 75 IhviLURES AND THEIR REIUEDIES ... ... 77 Failures in the first transfer previous to develo[)- ment ... ... ... ... 78 84 Failures in the final transfer XIV. PAGE Fading and Deterioration ... ... 86 Formul/e ... ... 90 Reversed Negatives ... 93 Inlm Negatives ... ... 94 Negatives taken through the glass ... 94 Negatives made from a pigment transparency by contact printing ... ... 95 The reversing mirror ... 96 Meaning of the term Autotype. Autotype, — the Company’s Reg- istered Trade Mark, THE “A. B. C.” GUIDE TO THE AUTOTYPE METHOD OF MAKING PERMANENT PHOTOGRAPHS. INTRODUCTION. ^HE term Autotype has been proposed, 1 and been very generally accepted as appropriate, to signify the reproductio7i of an artist’s work in Monochrome, without the intervention of another hand or eye : the only means used being the natural forces of LIGHT or ACTINISM, and CHEMICAL AFFINITY ; and the material employed being any of the PERMANENT PIGMENTS of the artist’s palette. The term has been adopted by the Auto- type Company, and registered as forming Action of light. Mungo Ponton. P>ecquerel. Poitevin. with a design of a rising sun, their Trade mark ; this is used exclusively by themselves and their licensees to characterize Autotype productions in permanent photography. Short History of the Process. The Basis of all the processes to which we shall have to refer, is the action of light upon organic matter in presence of the bichromates of potash or ammonia. Mungo Ponton first observed this action, when exposing to light, paper which had been immersed in a solution of the bichromate of potash. Becquerel showed that sized paper acted much more rapidly under such action than that which was unsized — hence the associ- ation of gelatine or gum, or their analogues, with the bichromates in such experiments. Poitevin found that if a pigment were mixed with the compound of gelatine and bichromate, those portions upon which the light acted were rendered wholly or partly insoluble. On coating paper with this com- pound and exposing it to light under a negative he expected by washing away the soluble parts of the film where the light had not acted, to have been able to produce a picture, but on putting his exposed pigmented paper into warm water he found it floated off from the paper altogether ; but he also found that if he spread his pigmented gelatine very thinly upon paper, and exposed it to light under a negative with pure black and white lines, he was then able to dissolve away those portions upon which the light had not acted, and he actually so produced the first photograph in pigment AbbedeLaborde. j Abbc de Laborde in France, Burnetand Blair, and Bumet and Blair in England, who pointed put the reason for the imperfect results arrived at by Poitevin ; they showed that the pigmented compound became entirely insoluble on the surface which had been in contact with the negative, this surface being actually covered with a skin, or film, which Insolubility of thc Warm water getting to the surface of tissue, soluble portioos of the film, and it was clearly demonstrated that if the pictures were to be developed at all, that could only be 4 Fargler’s process. Joseph Wilson Swan. Early efforts. successfully accomplished by attacking the film on the opposite side. To accomplish this, Fargier coated a levelled sheet of glass with his pigmented gelatine, allowed it to dry, then exposed it to light under a negative ; he then coated the him with thick collodion. This was allowed to set, but not become, dry. He then placed the whole in warm water, which attacked the soluble gelatine in contact with the glass, and soon set free the picture, which floated as a him held together by the collodion ; this was caught, collodion side downwards, upon a piece of paper, thus enabling it to be washed up from the back, and so the hrst half tone photographs in pigmented gelatine were obtained. But it is manifest that this was by no means an easy process, and could never be practically or commercially useful. To Joseph Wilson Swan we are indebted for the hrst practical method of pigment printing; in 1862 he took out a patent for pigmented tissues and the use thereof He at hrst followed Fargier’s lines somewhat. He coated glass with pigmented gelatine, but 5 first coated it with collodion ; when the whole was dry it was stripped from the glass, and • thus was made the first autotype tissue. Swan’s tissue. Tfiis tissue being exposed to light under a negative, the next question was, How was it to be developed ? The tissue having been placed with its collodionised surface next to the negative, it was evident that the of it could be got at for the purpose of washing away the soluble gelatine, but the picture must be supported in some way during treatment. This Mr. Swan accomplished by coating the collodion surface of the tissue with indiarubber solution, also coating paper Sopmenr"^ witli tile Same solution and allowing both to dry ; the two were put together and passed through the rollers of a copperplate press, thus forcing them into very close adhesion. This being put into warm water could be developed by washing away the soluble por- tions of the gelatine and pigments, leaving on the indiarubber paper a picture m relief giving the various gradations of tone incident to the negative. 6 swan^ Improve- M T. SwaH duriog the six months afforded ment^ and patent, perfecting of liis invention, made a most important improvement ; he did away with collodion and glass, and simply spread his pigmented gelatine on paper ; this, being sensitive to the light, was exposed to its action under the usual photographic negatives ; the surface was then coated with indiarubber solution, forced into contact with a piece of paper similarly coated, the adherent sheets placed in warm water, which softening the gelatine in contact with the paper upon which it was first spread, enabled that to be skinned off, the picture washed up from the back, rinsed in cold water, allowed to dry, and there was the photograph complete, resting on the indiarubber paper. But it was inverted. To obviate this, paper was prepared with gelatine rendered partially insoluble by means of alum, this being placed in warm water the gelatine became softened; the photograph on the indiarubber paper w^as then put into contact with this gelatine paper under water and the two surfaces forced together; when dry the indiarubber paper was removed by moistening it with benzine, thus 7 revealing the print in its position firmly attached to the gelatine paper ; and in this manner have been produced some of the best pigment prints that have appeared. ^ About the close of the year 1868 Mr. J. R. Johnson introduced and soon after patented another method of proceeding. He found, that in order to fix a pigment print upon a permanent or temporary support, no cement was necessary, provided that the support be impervious to air and water ; that if we simply lay the wetted tissue upon such sup- port, removing the air and excess of water from between the surfaces, the insoluble, or partially insoluble surface of the tissue adheres to the support, exactly as the boy's leather lifter, or sucker, adheres to the stone to which he has applied it. The picture being thus mounted on an impermeable support is placed in warm water, which softening the gelatine at the back, enables the paper to be skinned off and the picture developed. If transparent glass be used as the support, the picture is complete as a transparency ; or as a picture to be viewed by reflected light when backed with paper. If the support be 8 J. K. Sawyer’ patent, 1874. Nature of Savvyer'b tem- porary support. Its advantages. opaque, as opal glass, ivory, prepared canvas, indiarubber paper, &c., die result is the same, but the picture is inverted, if the ordinary negatives have been employed. In October, 1874, the author introduced and patented his “ Flexible Temporary Support,” which, by permitting the develop- ment of the picture on a soft couche or film of an insoluble colloid body, secures perfect adhesion during development. This Temporary Support consists of a tough and hard paper especially made for the purpose and coated very evenly by machinery with a solution of gelatine, which, when dry, is perfectly insoluble ; this is again coated with an alkaline solution of lac, then dried and rolled with great pressure between polished plates ; the surface is next treated with a Waxing Compound, which enables the picture to leave the Support on the application of the Transfer Paper. The advantages of this Support are numerous : it enables the picture to be viewed perfectly during the process of development, the yielding nature of the 9 \I. Lambert’s mprovements, 874—1875. surface holds without blurring the delicate details of the photographic image. The pieces of Support can be used over and over again almost indefinitely, and finally when the pictures are stripped, they leave the tem- porary support with a very agreeable surface and finish. In 1875, Monsieur Lambert exhibited in this country undoubtedly some of the finest specimens of pigment printing that had ever been seen; these he obtained from collodion- ized glass ; many previous attempts had been made to develope prints upon glass, but there were certain difficulties in the way which it seemed practically unable to overcome. It was well known that the pigment print could be developed on glass coated with collodion washed in water and then used wet ; but the difficulty was that the picture absolutely refused to leave the glass upon the application of the Transfer Paper, and it was not till Monsieur Lambert showed that if the glass were treated with a fatty body before applying the collodion it would enable the picture to leave the glass and retain all the brilliancy lO and lustre of the surface upon which the collodion had rested. We have now touched lightly upon the various stages by which the Autotype method of producing photographs has reached its present development ; for five-and twenty years its productions have been before the world; unlike photographs produced in silver compounds the Autotype is as durable as the pigment employed in its production. If this be permanent, so is the print, for it owes its colour entirely to this inert pigment in its unchanged condition. We say, inert, for it is the medium, or vehicle, employed with it, which is the agent in the chemical changes involved, and 710 1 the pigment. The basis of this medium is gelatine, a substance, universally recognized as a legitimate agent, and employed extensively, by the Old Masters, in distemper, or tempera-painting nothwithstanding its solubility in water, and its liability to become affected by damp and moisture. But the substance of the Autotype picture is not subject to this defect. The vehicle is not solnble gelatine but gelatine combined with an earthy basis, and therefore insotuble even in hot water : this substance is also the substratum used for the transfer of the finished print. It has been called with great propriety, transparent leather ; that is to say, it is of the nature of parchment or vellum, a material universally used for muniments, title deeds, and other important documents. Our ancient illuminated manu- scripts prove, by the centuries which have elapsed since they left the artist’s hands, that this material is, of all organic bodies, one of the most stable and permanent when employed as a basis for coloured pigments ; nor is the pigment or vehicle used in these paintings (size or gelatine) less permanent than the surface upon which they rest, the purity of the colours forming a marked contrast to those in oil paintings of a much later date ; the siccative oil varnish of the latter having in oxidizing, acquired the well- known yellow hue which modifies the tint of every pigment. Autotype tissues. Colours resem- bling ordinary photography. Works of art in the colours of the originals. Special colours to order. THE AUTOTYPE PROCESSES. Description of the Autotype Tissues. The material employed for prints in permanent pigments is known as Autotype Tissue, it consists of paper coated with gelatine charged with pigments ; it is made in several colours to suit the varied methods of reproduction that may be required ; it is one of the advantages of the Autotype process of producing photographs, that whilst there is no difficulty in obtaining photographic tones in great variety; copies of drawings and works of art, which may perchance be in sepia or red chalk, in pencil or crayon, can be reproduced not only in facsimile as regards colour, but even in the same kind of material as that employed by the artist in the original work. The followiniT is a list of the Tissues O made by the Autotype Company, and in addition special shades of colour can be Forphotographic itones. For reproduc- 'tions in black. For sepia drawings. For red chalk drawings and Bartolozzi red. For transparen- cies and magic lantern slides. manufactured when required ''''''Standard Brown. This is the colour adopted by the Company for general work where a rich photographic tone is desirable, and is a color in every day use at the works. "'''^Engraving Black. This is a standard colour always in use. Employed for the Auto-carbons ; also for copies of drawings in black and white, maps, engravings, &c. "'"'Sepia. Another standard colour em- ployed for the reproduction of sepia drawings, also for portraits on canvas to form the basis of oil painting. "'"'Red Chalk. A standard colour made to give the tint of a red chalk drawing or a print in Bartolozzi red. "'"''Autotype Transparency Tissue. This is made with filtered Indian ink, and shews no grain or texture when put into the magic lantern, or employed for transparencies for enlargement purposes. The above five tissues are in constant use at^ the Autotype Works, they are made in a sensitive condition twice a week, and can be sent securely packed in rolls or cut pieces ready to expose on the negatives. H In addition to the foregoing-, other colours are made. Standard purple, Warm black. Portrait brown. Portrait purple, Special purple (for Lambertype licencees). Sea green, siT'eTo &c. , these, with a/l the tissues made by the Company, are kept in stock in an insensitive condition, requiring of course to be made sensitive before using. General Principles of Single and Double Transfer. Pigment prints from negatives taken in process. usual maimer wouM be inverted if printed by the Single Transfer process, i.e., the left hand of the picture would appear as the right and vice versa; unless, therefore, the negatives are themselves made inverted, this process is inadmissible, unless inversion of the picture is of no consequence. Inverted negatives are obtainable by means of the reversing mirror, or by being made throtigh the glass of the dry plate, or by contact printing from a pigment print on glass. Prints from negatives so made can be mounted and developed at once upon Single Transfer 15 Principles of the louble transfer )rocess. Consideration of me two methods. Single transfer. Double transfer. paper which forms their final support. The great body of negatives, however, not being specially made, it becomes necessary to develope them upon a temporary or inter- mediate support from which they may be transferred to their final support after develop- ment ; this by turning the picture over as it were, secures a non-inverted image. It will be evident that all pigment prints may be produced by one or other of these two methods. Prints on paper from specially made negatives, also prints on glass, such as magic lantern slides and window transpar- encies from ordinary negatives, involving only one transfer. Prints from ordinary negatives and destined for a final support of paper, opal, canvas, ivory, wood, tiles or panels, must be treated provisio-nally on a Temporary Support, and be transferred by a subsequent operation to their final resting place. THE AUTOTYPE PROCESSES. Autotype Com- pany employ tissue sensitized in process of manufacture. Tissue supplied both in the sen- sitive and insen- sitive condition. Materials for cutting up tissue. Cutting up and Re:ndering the Tissue sensitive to Light. The Autotype Company find it to their advantage to employ tissue made sensitive at the time of manufacture, and as they supply it promptly per post in cut pieces of any required size, they advise their clients to purchase it in this condition rather than have to go through the operations of sensitizing ; but as this may not suit those who employ it on a large scale and is quite out of the question for export, full details of the best methods of cutting it up and sensitizing are here given. Materials for cutting up tissue. A piece of stout zinc cut square and true, with inches marked and numbered on the bottom and right hand edge ; these can be procured in the following sizes : 30 by 18 inches, 30 by 24 inches, and 30 by 30 inches. 17 A stout oak T square. A cutting knife and sharpener. Four pieces of lead the size and shape of a two-ounce weight. An Autotype pressure box. Su 7 FLde‘of To cut the tissue, unroll it gently, put it cutting up tissue. cuttiug plutu, put the lead weights upon it, place its edge square against the lower edge of the plate, and square up the tissue by cutting a strip off the right-hand edge, using the T square ; now registering the tissue to the right-hand edge of the plate, shift it up so that you can see the numbered inches at the bottom of the plate, apply your square and make clean cuts right through the tissue to either the length or width required, afterwards making transverse cuts for the other dimension. The keeping of Tlio cut tissuo should be kept under a cut tissue, 1*1 n 1 heavy weight so as to come out fiat when you wish to sensitize ; a couple of metal plates with a 56-lb. weight will answer, but the best plan is to put the cut pieces into an Autotype pressure box, the weighted lid of which will press them flat and keep them in t8 proper condition ready to sensitize. haTteL hi%h^ Should the tissue be very dry it will have a tendency to crack, this can be remedied by putting it for a few hours in a damp place till it becomes pliable. Sensitizing the Tissue. Apparatus, materials, and chemicals required for sen- sitizing. I'he sensitizing bath. Apparatus and Materials required — Tin sensitizing dish. Zinc tray, two inches larger each way than the sensitizing dish. Squeegee board covered with zinc. Squeegee. Broad camel’s hair brush. Egg boiler (three minute). Common cardboards, 22 by 17 inches or larger. Quire of red blotting paper. Two-gallon jug. Piece of muslin to form bag for ditto. Granulated bichromate of potash. Autotype pressure box. To make the sensitizing bath, tie over the mouth of the two-gallon jug the piece of muslin quite loosely so as to form a bag, into 9 it put I 5 ounces of granulated bichromate of potash and pour upon it as much hot water as the jug will hold, or as much as will reach the bichromate salt, allow it to stand till cool, and when perfectly cold it is ready for use. for Next prepare the cardboards by tying a Inv? the tissue, of fine twine about 12 in. long to the middle of one end of each piece of card- board, and at the other end cut a slit about half-an-inch long exactly opposite, then make a knot in the twine, bend the card into the shape of a bow, slip the twine into the slit, the knot being on the outside, and you have an arch of cardboard to support a sheet of blotting paper on which the tissue is to be dried. These cardboards can be suspended by passing a cord through them, or arranging splines to stick out from a wall or shelf. Sd ""o/kJf Place the sensitizing dish upon a table or itizmg tissue, boforo a window with a yellow blind, and to the right of it place the larger tray, upon which put the squeegee board resting upon two bars of wood supported by the edges of the tray; have the squeegee handy, and the egg boiler in such a position that you can easily see when the sand has run out ; 20 untie the muslin from the top of the large jug, just enough to be able to free the spout, and pour the solution without making more bubbles than you can help into the sensitizing bath, which of course ought to be perfectly clean. fluidTSSh! The sensitizing bath should have, at least, 2 -in. of fluid in it, and the first step is to immerse the tissue without allowing air bubbles to adhere to the surface. Take up the sheet of tissue with both hands, and bending into a convex shape, pigmented side downwards, lay it on the bath so that it touches first in the middle ; now lower each end, and with the camebs hair brush push it bodily under the fluid. Turn your egg boiler; now give your attention to the tissue, with an eye now and then cast in the direction of your time meter, viz., the egg boiler. With the camel’s hair brush wipe off any air bubbles there may be on the back of the tissue ; be sure and get rid of them, then turn the tissue over and attend to the face, brushing it carefully in every direction, now turn it down, carefully avoiding any splash or disturbance; about this time you will see that i-pplicationofthe queegee to the siisitized tissue. the sand of your egg boiler is running low. As soon as the sand has run out, take up the tissue by two corners with the thumb and finger of each hand, and lift it slowly out of the fluid ; let it drain for a few seconds, then holding it over the squeegee board allow a few drops of the solution to fall on to the zinc plate, and then lay down the tissue very carefully, face downwards. Now place two fingers close to the left-hand edge of the tissue, and holding the squeegee qttiie in the middle, pass it over the tissue slowly and steadily with moderate pressure from left to right, commencing quite close to the fingers, so that the back of the tissue is made surface dry; if necessary, go over it again, but one application of the squeegee should be sufficient. Raise the tissue slowly and steadily from the plate ; if it sticks very tight, you may take that as a hint to be a little quicker in your movements next time. Having got off the sheet, la)^ it face uppei^- mosi on a sheet of blotting paper, place this upon one of your arched cards, and hang up to dry ; treat sheet by sheet in this way. If your room has had a hre burning The proper dry- ing and keeping of the tissue. Special cautions as to temperature in it during the day, and you sensitize at night, the tissue should be perfectly dry and in good order by the morning, and you will never be bothered with irregular sensibility, reticulation, or any other trouble. Do not forget to darken the room, and when you leave it, lock the door after you and pocket the key. Supposing that you have sensitized your tissue in the evening, it will, if your drying room has been suitable, be ready to take down the next morning. It should then be cut up into the sizes for use, and put into the pressure box, by this means the tissue is kept flat in the most convenient form for the pressure frame, and the light and atmosphere perfectly excluded. In drying tissue it must be borne in mind that gelatine, of which the coating is com- posed, swells up in cold water and absorbs a considerable quantity thereof without dis- solving, but that if the temperature be then materially raised, solution takes place, causing the film to run into drops, and the regularity and continuity of the surface to be deranged. It is for this reason that the adoption of 23 the squeegee is recommended to remove the excess of fluid from the paper at the back of the tissue compound. One other precaution has to be taken, viz. — that in very hot weather the temperature of the solution itself should not be allowed to exceed that of 6o° or 65°, as a higher tem- perature than this would suffice to soften and commence the solution of the gelatinous compound during the immersion of the tissue, short though the time required may be. To obviate this difficulty, it is simply necessary to cool the solution below 65°, which may be done with facility by the introduction of a small piece of ice, the solution of which in the liquid speedily reduces the temperature to a sufficient degree. This precaution, however, is rarely neces- sary in this country except during the very hottest days in summer. 24 THE AUTOTYPE PROCESSES. The Exposure of the Sensitive Pigmented Paper to the Action of THE Light. Ordinaryprinting of tHc framcs orclinarilv in use will trames available J J answer, though as no image is visible on the exposed paper it is quite unncessary to have the back jointed as for silver printing. in-Tames ^lie Autotype Company make up special frames with solid backs, whereby an even and regular pressure is secured, they are light and inexpensive, at the same time quite efficient. No visible image piument printiiiQ; there is no visible in pigment print- o 1 o image upon the sensitive tissue however long may have been the exposure to light, so that it was necessary to devise some means of ascertaining the sensibility of the tissue by Actmome^ers. comparisoii with a visible image ; this is provided by means of an instrument known as an actinometer ; of these there are several forms, the simplest is the one invented by Mr. 25 ohnson's loineter. Sawyer’s nometer. J. R. Johnson and called by his name: it consists of a small tin box with a glass lid, the inside of the lid is painted with opaque colour to match a medium tone of silver paper after a short exposure to light ; in the centre of the lid is a portion of clear glass ; in the box is placed a small roll of sensitive silver paper, and this is pulled forward under the glass lid so that the light passing through the aperture discolours the silver paper under- neath ; when the tint of this matches the colour painted on the rest of the lid, the instrument is said to register one tint. Another form is one introduced by the author, and consists of a rectangular tin box, with a glass lid bearing twelve tints gradated from slight discolouration, to a degree ol opacity representing the extreme amount of deposit upon the lights ot the densest negatives, each division of this screen ol tints bearing a number in opaque pigments ; a roll of sensitive silver paper is placed in the box, and the end pulled forward so as to pass under the tints ; when this arrangement is placed in the light the silver paper 26 Burton’s uci nometer. commences to discolour underneath the gradated screen, beginning of course at the lightest, but the number on the tint being in an opaque pigment is preserved white, and serves to register the progress of the printing, for, if upon opening the lid, the number one for instance shews clearly upon a tinted ground the instrument is said to have regis- tered one tint, by that time the number two will have begun to appear, and a sufficient exposure to light will print through the scale by successive steps and shew up the numbers I to 12. The third form of actinometer is the invention of Mr. H. J. Burton; it consists of a rectangular box to contain the roll of sen- sitive silver paper, and has a glass lid furnished with six tints of different densities, and imposed upon them a series of six tiny identical negatives ; upon the silver paper being pulled forward under the negatives and exposed to light, the negative underneath the lightest tint begins to print, and in a little time assumes the appearance of a good silver print ; when upon examination this is found 27 Practical use of the actinometer. Ascertaining ratio of sensibility to be the case, the actinometer is said to register one tint, by a further exposure to light the next small negative will have become sufficiently exposed, the instrument will then have registered tzvo tints, and a prolonged exposure will print the whole of the series. The practical employment of the acti- nometer is extremely easy to acquire and when once acquired makes pigment print more convenient and pleasant than printing in silver ; there is no necessity to touch the frames, no having to retire them into a subdued light, to open and examine to see if the prints are done enough ; it is only necessary to take up the actinometer and this shews at once the progress of the printing. In the employment of the actinometer it is necessary to ascertain the ratio of the sensibility of the silver paper with regard to the sensibility of the tissue ; in the first instance this will require a preliminary experiment or two, a good method for a beginner is to proceed as follows : select three negatives to serve as guides, a thin 28 Experiment with test negatives. Marking nega- tives with numl:)er of tints required. one, a medium one, and a dense one ; put them into pressure frames and place upon each a piece of sensitive tissue, expose all three to daylight and at the same time put out with them the particular form of acti- nometer adopted, — suppose, for instance, the author’s ; after an exposure of ten minutes or so in good diffused light an examination of the actinometer shews perhaps a registration of two tints; retire the thinnest negative, put out the actinometer again, now retire the medium negative when fo 2 ir tints are registered, and retire the remaining negative when the little instrument has registered six tints ; as these prints are developed it will be seen if they are over or under exposed, or just right, and these three test negatives will indicate the power of the light in producing an image as yet invisible in the gelatine and pigment, by comparison with its visible effect upon sen- sitive silver paper. Having thus obtained definite ideas as to the amount of exposure required by negatives of varying densities, it will be best to mark upon the negatives it is proposed to print, 29 the number of tints they will require ; this should be done on the glass side of the negative and in one uniform place, so as to be readily seen : a good way to do this is to place a piece of glass supported at an angle opposite a window, upon this place the three test negatives and mark the others by comparison ; a few days’ practice will enable any intelligent person to judge at a glance how many tints any given negative will require. S'mThfthe Before proceeding further, it may be as best condition. reuiai'k that tissue always produces better pictures if used a clay or two after being made sensitive to light ; there is much less danger of the lights washing away, and softer and better pictures are produced with tissue in this condition, than with that freshly sensitized. SfonTnZ'"^ There is one more matter that may be mentioned, which, although not likely to have much bearing upon general practice, may occasionally be utilized, and that is the con- tinuation in darkness of the action set up by the light ; thus, pictures known to be under- printed in the latter part of one day will by the next morning have acquired as much force as if they had had a proper exposure. In the dull days of winter it is possible to organize a system by which prints given a shorter time of exposure than would be necessary in ordinary cases, are by keeping until next day capable of being developed into good pictures. THE AUTOTYPE PROCESSES. Development of the Latent Image. Up to this point the manner of proceeding , in Autotype printing will be the same what- , ever may be the nature of the support upon which the picture finally rests ; this may be paper, canvas, wood, ivory, porcelain, glass, ; opal, metal, &c., in fact a variety of sub- ; stances, thus opening up to photography an extended field, including not only the , production of views and portraits, but enabling permanent photographic reproduc- tions and fac-similes to enter largely into many kinds of illustrative and decorative art. The pieces of tissue after having been develop exposed to the action of light under negatives in the printing frames have now the latent images formed in the pigmented gelatine, which has been rendered more or less in- soluble according to the strength and gradation of light and shade in the negative ; but as has been noted at page 3 the whole Cieneral prin- ciples. I )ifference of treatment for specially made negatives and for negatives made in the usual man ner. of the su7^face in contact with the negative has been rendered entirely insoluble, whilst much of the pigmented gelatine in contact with the paper upon which it is spread, remains in a soluble condition, and it is by washing this away in warm water that the picture is revealed : but it is manifest that in order to preserve the picture during this operation its face must be mounted down upon some support to retain it intact whilst the process of development is being carried on. If the pigmejit film, after exposure, be plunged mlo water for a very short space of time, and be then laid upon any plane suiface impermeable to ivater, it zvill firmly adhere thereto, provided air be carefiully excluded from behveen the surfaces, and it zvill equally adhere to paper prepared with insoluble gelatine, or other colloid body, zvhen the two surfaces are brought into contact in a moist condition. It has been already noted that a pigment print from a negative made in the ordinary way developed at once upon its final support will be inverted, and that this, the most easy probably of all methods of producing photo- 33 DistinctIon_ between single and double :ransfer. Point of departure single and double transfer processes graphs, is only available for negatives themselves reversed or inverted, or for sub- jects in which an inversion of the image is of no consequence, or again for pictures on transparent glass which can be viewed equally well from either side. Prints made from negatives taken in the ordinary manner must as a rule be developed on a temporary or provisionary support, and this gives the power of transferring them not only to paper, but to opal, ivory, panel and other surfaces. So far then, the operations will be precisely the same whatever may be the destination of the Autotype pictures, but a point has now been reached where the two processes of single and double transfer take their departure. Prints from reversed or inverted negatives or where inversion of image does not matter, are developed at once upon their final support (single transfer paper) which holds them permanently and firmly. Prints from nega- tives taken in the ordinary manner are developed upon a provisional or temporary 34 support, which they are expected to leave when laid down upon their final resting place. The development of the latent image will now be treated of under three heads. 1°. The development upon single transfei' paper. 2°. The development upoji the atdhors tempo- raiy support. 3°. The devetopmait upon a temporary sup- port of opal. 35 THE AUTOTYPE PROCESSES. The Development oe Sinch.e Transfer Pictures. Plant and Materials Required. ant and iterials for igle transfer. !,rge quantities ilhot water not .tessary. c One mounting tray with squeegee board and squeegee. Three trays for cold water. One developing tank. A “ Hero” stove, or a gas ring, as source of heat. One dish of earthenware or porcelain for the alum solution. American clips for hanging the prints. Blotting boards, or thick blotting paper. Single transfer paper. Thermometer. Iron tressels for supporting the developing tank above the source of heat. As pigment prints are developed in warm water, temperature from 105° to 110° Fahr., it might be supposed that a considerable supply of hot water would be necessary. 36 This, however, is by no means the case ; it is not of the slightest consequence how appa7'~ ently dirty the water in the developing tank becomes, the prints come out, after the water has been used for an hour or two’s developing, just as clean as at first ; all that is absolutely necessary, especially for an amateur, or for anyone who does not produce large quantities of prints, is some means for getting the water in the developing tank up to the proper temperature, and then keeping it there. Where gas is laid on, and convenient to arrange, a Fletcher’s Gas Boiling Stove is the very thing ; where gas is not at hand, a Rippingilie’s ‘Hero’ kerosene stove is absolutely perfect, the small size tank will stand very well on the top of the stove, the larger sizes can be supported above it on cheap iron tressels sold by the Autotype Company. rppframs^for Boforo beginning the developing opera - developing. tioos, pHce the required trays, &c., as follows ;--On the left a cold water tray, next on the right the mounting tray with its board and squeegee, then a dozen blotting boards. autotype printing.-the development. 1. Mounting (us^of the Squeegee). 2. Developing the Prints. 3. Fixing in Alum Solution. A. Cold Water Tray, No. I. B. Blotting Boards C. Mounting Dish and Stool. D. Developing Tank. K. Cold Water Tray, No. 2. F. Alum Bath. G. Cold Water Tray. No. 3. H. “Hero’* Stove. J. Johnson’s Actinometers R. Burton’s Acflaomctcr^. S. Sav^er’s Actinometers. T. Pressure Frames. P. Autotype Pressure Boxes. V. Packets of Cut Tissues. \V. Waxing Compound. X. Collodion. Auiotypc Co.^ f.omicn ami Ealing Daie. •''Virf'jr; s Collotype I lOtfst. 37 and warm solution. yro to coin- t with the ! transfei iS. followed by the developing tank with its “ Hero ’’ stove or gas ring as source of heat, then cold water tank No. 2, followed by a dish for a five per cent, alum solution; and the cold water tank No. 3 completes the necessary plant. Arrange the squeegee board in the mounting tray so that its left hand end rests on the left hand edge of the tray, whilst its other end rests on the bottom of the tray, thus forming a slope, and fill the three zinc trays half full of cold water ; the developing tank should be half full of water at a temperature of a 105° to 110° Fahr., and the earthenware dish should contain the solution of alum. For those who are making their first experiments in Autotype printing, it will be best to commence with the development of prints by the single transfer process, without regard to the fact of the resultant images beinor inverted, which will of course be the case if ordinary negatives have been printed from. The single transfer process is so simple and easy that it forms an excellent ]\[ountIng exposed ti: 3 « commencement for anyone who wishes to take up and work out a pleasant mode of making permanent photographs , The first thing to be done is to mount the tissue bearing the latent image upon the single transfer paper ; this is paper coated with a thin and insoluble film of gelatine. Having the pieces of single transfer paper cut a little larger than the pieces of exposed tissue it is proposed to mount upon them, proceed as follows : put one of the pieces of tissue into the clean cold water contained in the tray on the left, be careful to completely submerge it, and avoid air bubbles by passing the hand over the front and back ; now immerse the piece of transfer upon which it is to be mounted ; the tissue will begin to curl as soon as it gets into the water ; when it begins to uuqmxX and straighten itself out, put its surface in contact with the surface of the single transfer and bringing them out together, lay them upon the board in the mounting tray, and force into intimate contact by a vigorous application of the squeegee, the tissue being uppermost, then place between 39 blotting boards for five or ten minutes, he development DjhVPU.OPE. Pluce tfie adherent pieces in the warm water (Temp. 105° to 110° Fahr.) of the developing tank; as soon as the warm wmter has softened the ttelatine, which is j known by its beginning to ooze out from the ! edges of the picture, skin off the paper upon I which the pigmented gelatine was spread, and ‘ throw it away, then wash away the soluble gelatine in which the picture is buried by gently laving it with the hand ; in a few I seconds it will begin to appear, and in a very I brief space will be fully developed, the I development is stopped by placing it in the I cold water tank No. 2. development of an Autotype picture mder control. cousiclerably under control ; for instance, an I over printed picture can be much reduced in depth by the employment of hotter water or long soaking ; and heavy shadows may be lightened by gently pouring upon them hot water from a jug. In like manner under printed pictures can be frequently saved by careful development in cooler water, thus artistic effects can often be secured by a 40 judicious treatment of the picture in the Developing Tank. iiumIXfon” To Alum. This is to thoroughly discharge the bichromate salt, and to confer insolubility upon the finished print. The print is taken from the cold water tank No. 2, and placed in the dish containing the solution of alum, for ten minutes ; a final rinse in cold water completes it, and it may be hung up to dry, a finished picture; care should be taken to get rid entirely of the yellow stain before removing the print from the alum solution. As soon as the picture is dry it is ready mounting, spotting, finishing in mono- chrome or water colour, and it can in short be treated just the same as any ordinary photograph. THE AUTOTYPE PROCESSES. The Double Transfeit Pttocess. It has been stated that the double transfer process differs from the single in the fact that ! the tissue is mounted and the latent image I developed upon a temporary support, from I which it is afterwards transferred to its final I resting place. I Materials required. Additional In addition to the plant and materials materials for • i r i • i r Idoubie transfer, reguired lor the single transfer process, it ‘I will be necessary to have : * Pieces of the author s temporary support cut to sizes larger than the prints to be I developed upon them. A bottle of waxing solution. Two pieces of cotton flannel. Development on the Author’s Flexible Temporary Support. beveiopnient on This is papup prepared as described on page 8 ; it should be cut into sizes a little 4 ^ larger than the pictures it is intended to place upon it ; before each time of using the surface should be treated with the waxing solution in the following manner : pour a few drops of the solution upon the face of the support, ani rub it over the surface with a piece of cotton dannel ; put this piece of support aside and treat, say, half-a dozen in the same manner ; now take up the first piece, and with another piece of the ilannel polish it with a light circular motion, then put it aside to allow the spirit to //; v/y evaporate; this operation should be performed some hours before the support is required for use, if the day before, all the better, or the pieces may be kept waxed ready for use. The pieces of tissue bearing the latent Monnt:ng the ex- pictures urc now mounted upon these pieces posed pieces of ->■ ^ of waxed temporary support in precisely the same way as described for single transfer ; the tissue and support are immersed in the cold water, and as soon as the tissue begins to uncurl, it is brought into contact under water with the face of the piece of temporary support, the two lifted out together, placed Developinenl. Fixing in alum. Importance of getting rid of the chromic salt. Pictures may be transferred wet or dry. on the stool, forced into contact with the squeeg-ee, developed and fixed exactly as indicated for single transfer ; it will be found that the temporary support becomes much more stained with the bichromate salt than does the single transfer, and it is necessary to allow the prints to remain in the alum solution until this stain, has entirely dis- appeared ; this may take ten or fifteen minutes, after which a final rinse in clean water v/ill complete them, and they may be either transferred at once, or hung up to dry to undergo this operation at a future time. There is but little difference in the appearance of prints transferred whilst they are still wet, and those allowed to dry first ; it is thought that the latter gives rather the sharper picture owing to the contraction of the gelatine in the first drying, and on the whole the operation is slightly more easy than with wet prints. Transfer of the Picture from its Temrorarv to its PdNAL Support. The pictures having been developed on 44 The final transfer. Corrects the in- version of image. Kliminates the chromic salts. Apparatus for final transfer. Autotype final support. Autotype final support larger than the pictures, but smaller than the temporary support. their temporary support of paper, are now ready for the final transfer to the support upon which they are to remain. This final transfer overcomes the inversion common to pictures printed from negatives taken in the ordinary manner, and presents objects in their correct positions, it is also of advantage in securing the total elimination of the chromic salts whilst the picture is on the temporary support. Apparatus and materials required. Two of the cold water trays. The squeegee and board. Porcelain or other tray containing a two per cent, solution of alum. Autotype linal support in cut pieces. A tdotype final support is a hne paper coated with a solution of hard gelatine containing a permanent white pigment ; this on being immersed in alum solution swells, and imbibes sufficient to confer not only upon itself, but also upon the picture mounted upon it, insolubility. The Autotype final support should be cut into sizes a little larger than the pictures to be transferred (but smaller than the temporary support), and placed in a 45 Immersion in tepid water necessary. General directions. two per cent, solution of alum for half an hour before they are required for use, the exact time is not of much importance, an hour’s immersion will not hurt them. When ready to commence operations, half fill one of the trays with tepid water at a temperature of about 70° Fahrenheit; place the other tray to the right of this, with the squeegee board resting in a horizontal position on two pieces of wood placed across the tray ; put one of the prints into the tepid water and take out of the alum solution a piece of the final support of a suitable size, place this also in the tepid water, put the gelatinous coating of the final support in contact with the picture, avoiding air bubbles, lift both out together and lay them upon the squeegee board, the final support being uppermost, and force them into absolute contact with the squeegee ; if the prints have been allowed to dry before the final transfer is made, a vigorous action of the squeegee will be necessary, but if the prints are trans- ferred wet, it will not be advisable to use too much pressure for fear of injuring the soft 'I’he adherent sheets hung up to dry. Surface similar to that of a print on albumenized paper. To restore the brilliancy if necessaia'. Repeated use of the temporary support. 46 gelatinous image of the recentl)' developed prints. The adherent sheets may now be hung up to dry, which will take some hours at ordinary temperatures, when perfectly dry, the tem- porary support will leave the print firmly imbedded in the gelatinous insoluble couche of the final support. The finished picture will have a surface resembling a silver print on albumenized paper, and if properly printed and developed will render every gradation of tone in the negative in a satisfactory manner. The picture will, in most cases, come off pure and brilliant. Should any dulness appear, a few drops of methylated spirit applied to the surface and rubbed over with a piece of flannel will at once make it perfect. The temporary support may be employed repeatedly, and is made again ready for use by rubbing over the glazed surface a little of the waxing compound with a piece of cotton flannel, and then polishing it off with a second piece : as soon as the spirit has evaporated the support is quite ready for use. 47 The Double Transfer Procrss CONTINUED. Development of Prints on a Temporary Support of Opal, giving Pictures WITH Matt Surfaces. It has been one of the functions of Auto- type to aid in educating the public taste with respect to photographs ; it is now no longer Aiitoty^ie artistic r ^ i o x in texture and coiisidcred ncccssary that an Autotype should colour. J y 1 have a high glaze or polish, or that it should be confined to the colours characteristic of prints in the salts of silver; xAntotypes are produced in various colours to suit particular classes of work, and with great advantage as giving increased artistic expression. Pictures in engraving black, in sepia, in Varieties ofcoiour Bartolozzi red, in Vandyke brown, colours in short that lend themselves to artistic reproduc- tion, and in many cases to artistic portraiture, are easily attainable in Autotype, d his has naturally involved a desire for surfaces more Varieties of sur- neaHy resembliug those of engravings and drawings ; these may readily be obtained by the development of Autotype prints upon 48 Special depth and richness of shadows. Extra smoothed pot opal. Dev'elopment of two or more pictures on one plate. .smooth opal glass which gives a delicate matt surface, and by reason of there being more gelatine in the shadows than in the other portions of the picture has a certain depth and richness, scarcely attainable by any other process. The opal glass suitable for this process is a speciality ; should there be a difficulty in procuring it, it can be had from the Autotype Company under the name of extj^a smoothed pot opal. As more than one picture can be developed on a plate, it is well to have the plates a fair size, say ten inches by eight ; upon this can be laid down a nine by seven print, or two half plates, or even with some dexterity and skill, as many as four quarter plates. Materials Required. In addition to those specified for single Materials transfer, it will be necessary to have : necessary tor the ^ proSsoTopS' Pieces of extra smoothed pot opal, one inch larger each way than the picture or pictures to be developed upon them. A bottle of waxing solution. Two pieces of cotton flannel 49 I The first operation is to treat the opal with the waxing solution ; having the plates quite clean and dry, pour upon the middle of one of them, a few drops of the waxing solution, and with a piece of cotton flannel rub it carefully all over the surface, rear the plate up, and go on with two or three or more up to about half a dozen, in the same way ; now returning to the plate first treated, with another piece of flannel rub it all over with a light polishing motion, treat the others in a similar manner, and put in a rack that the spirit may completely evaporate, this operation is best done some time before the plates are required for use, in fact it is a good plan to have them waxed beforehand. iTdevdoping”^ Arrange the developing plant in the order xpparatus. previously described, having the squeegee board supported horizontally over the mount- ing tank by means of two pieces of wood laid across it. Place one of the pieces of opal on the board and immerse the exposed tissue in viounting the coM watei* as before directed, as soon as it he opal. begins to uncurl, dash some cold wxater on the 50 Laying down more than one print on a plate. opal plate, and lift the print out of the tray with as much water as can be managed, lay it down upon the opal, floating it into its place and force into intimate contact with the squeegee, then place the plate between blotting boards for a few minutes. If it is wished to mount and develope several small pictures upon a large plate, place as many as the plate is intended to carry in the cold water tank, but not all at the same time, allow a few seconds to Intervene between each ; as soon as the first is ready, take it out and lay it down as previously described, following it by the others in regular succession ; when all are Use of a piece of down and ill position, take a piece of the author’s temporary support a little larger than the plate, immerse it in water and lay it upon the pictures resting on the plate, side uppermost ; by using the squeegee upon this, the prints will be forced into contact, and any risk of disturbing their positions will be avoided ; the squeegee should be used with considerable force to ensure perfect adhesion. temporary sup port. The development as before des- cribed . Success depend- ent upon correct exposure. Effects of over and under ex- posure. 51 The development is proceeded with after the prints have remained five or ten minutes between the blotting boards, and in precisely the same manner as previously described; the opal is an admirable material for developing upon, shewing the progress of the operation in a very satisfactory manner. The success of the operation at this stage largely depends upon the prints having been exposed to light a proper time, and if this has been fairly correct, the pictures will appear with their details in perfection ; if the exposure has been too long the gelatinous compound will have dissolved with some difficult}/, the resulting pictures will be heavy in their shadows, and the lighter tones wanting in clearness. If, on the other hand, the exposure has been insufficient, the com- pound will dissolve away quickly, leaving the developed pictures bare and chalky in the high lights, and lacking vigour in the shadows. Of course a proper exposure ensures the most perfect result, but there is an advantage attending this process, that an under or an over exposed picture may be made fairly 52 Modifications possilde in the develojiment process. presentable by modifying the development ; Lisincr hotter water than usual in the case of an over-exposed print, which may be further reduced by soaking for a short time in water at a high temperature ; and on the other hand an under-exposed print may often be saved by removing it, when partially developed, from the warm water, and continuing the development in cooler water. The pictures should appear a little lighter in the water than wished for finally, as they dry up a shade or two darker. As in the case of prints on the author’s temporary support, when the development is completed, the further action is arrested by the plate being plunged into cold water, and from thence transferred to the solution of alum, it need only remain in this for a couple of minutes, it is then rinsed in cold water, and the operation of transferring to the final support may take place at once, or the plates be reared up or placed in a rack to allow the developed pictures to dry. Transfer of the Print Developed upon A Temporary Support of Opal to its Final Support. Apparatus and Materials Required. Two of the trays. Squeegee and board. Dish containing two per cent, solution of alum. Autotype final support in cut pieces. The final transfer Tlie truiTsfer to the filial SLipport is made in much the same way as previously described for pictures developed on the author s temporary support. I he necessary pieces of final support should be got ready by “or\^nA£^^^^ soaking for half-an-hour or an hour in a two per cent, solution of alum. 1 he squeegee board and tray being placed in position as in mounting the prints for development , take one of the developed pictures if it has been dried it should be placed in tepid water lor a minute or two, if wet it will simply icquire flooding with cold water— and place it upon the squeegee board with plenty of watei Variations in treatment. 54 Application of the final support. Dry between bibulous boards. Finish with gentle heat and strip. Cleaning the sur- face with spirit. Opal plates not to be washed. upon its surface, take one of the pieces of final support from the alum solution and pass it into the tepid water, which should not exceed 70° Fahr., now place it upon the print, avoiding air bubbles, and with a few firm strokes of the squeegee drive out the water at both ends and thus force the two surfaces into contact. Put the plates upon a rack for half-an-hour, then place them between dry blotting boards or blotting paper for twelve hours or so, they will thus become nearly dry, and avoid all risk of partially leaving the opal ; finally place them on a rack in a moderately warm current of air, and in a short time they can be stripped from the opal with a delicate matt surface ; if this is rubbed with a little methylated spirit, applied with a piece of the cotton flannel, all traces of the waxing solution will be removed, and the picture will take retouch or colour, or whatever spotting may be necessary, without the least difficulty. The opal plates should never be washed after they have once been treated with the waxing solution ; if a picture is spoiled in 55 developing, it is better to waste a piece of final support in transferring it rather than to 2)od after wash it off After the opal plates have been usinV" treated with the waxing solution a time or two, it will penetrate the pores of the glass and enable the pictures to be stripped with ease and facility. Autotype print- ing easy in actual practice. I’erhOns inter- ested shoidd attend a demon- stration. THE AUTOTYPE PROCESSES. • / Resume of Operations. Those who have taken part in the Demon- strations of Autotype printing and develop- ment given bi-monthly at the Autotype Works, invariably exclaim, how easy it all is; and that however much they may have studied the books and manuals treating of the subject, it has always appeared much more complicated ; it is to be feared that this must always be the case, it is so very different the seeing a thing done and having a viva voce explanation of the whys and the wherefores, to only reading about the same thing however carefully it may be described. The moral to be drawn from this, is, that persons who are really interested and who “ want to know,” should attend a demon- stration, and afterwards with the assistance of this little guide, success will probably attend their steps in this most agreeable way of producing permanent photographs. Invitation cards for these demonstrations, and full jjarticulars can be obtained by writing to the Manager, Autotype Company, 74, New Oxford Street, London, W.C. 57 Resume of opera- :ions. Cutting up and sensitizing. Exposure to ligh with the acti- nometer. Operations for single transfer. A brief resume of the operations will convey an idea of their simplicity, and enable a comprehensive view to be taken of the ground that has been traversed. The first operations are the cutting up and sensitizing the Autotype tissue, this rather troublesome operation may be avoided bv sending for sensitized tissue in cut pieces; it will remain in good condition for ten or twelve days, if kept from light and air in the Autotype pressure boxes. The exposure to light takes place in much the same way as with other photographic papers, except that as the image is latent and not visible, the time of exposure has to be regulated by the tint given by the silver paper in one or other of the actinometers. The exposure having taken place, the following operations are necessary. For Single Transfer. 1 °. Mounting the print on the single transfer paper, or on transparent glass. 2°. Developing by washing away the soluble gelatine in warm water. 58 3°. Stopping the development in cold water. 4°. Immersion of the print in a five per cent, solution of alum for ten minutes, to discharge the chromic salts and make the picture insoluble, so that it will not be affected by damp and atmos- pheric influences. 5°. The final rinsing in cold water. 6°. The hanging up to dry if paper, or the placing in drying racks, if glass. For Double Transfer. doSTransfef ^ Mouiiting thc priiits on a temporary support, which may be the author’s temporary support of paper, or a specially prepared opal glass. 2°, 3°, 4°, 5°. Exactly the same as for single transfer. 6°. The transfer of the image from the temporary support to a final one, which may be paper as already described, or other substances which will be treated of in the next section of this manual. 7°. The drying of the prints now mounted 59 down on their final resting places. 8°. The removal of the temporary support, ; which becomes available for future use, and the revelation of the Auto- type print in its correct position. Only two more It will bc scon, therefore, how very close double transfer, together are the operations of single and double transfer, the latter involving but two more operations, and enabling prints to be obtained from any negative already in existence. 6o THE AUTOTYPE PROCESSES. Adaptations of the Processes oe Per- manent PioMENT Printing to the Production of Photographs on Various Materials. t^'Aof Permanent photographs on opal . — The opal necessary. glass fop tHls pupposG sliould Pc that sold under the name of “ pot metal,” and is distinguished by having the colouring matter distributed throughout the entire material of the glass ; there is another kind which is known as “ flashed,” in which the colouring matter is present as a thin layer upon trans- parent glass, but for the purposes of photo- graphy the pot metal opal is infinitely superior on account of its richness and depth of colour. fnairTvel-scT''' piccc of Opal selccted should have a nc,.;aiivc.s. smootli ( iiot pollshed) surface ; if the negative should happen to be a reversed one, the picture is made by the single transfer process, in which case the operation consists ol 6i Opal pictures from ordinary aegatives. Transfer solution for opals. Mode of transfer plunging the exposed tissue into water, laying it down on the opal, the surface of which should be thoroughly clean, applying the squeegee, and developing as previously des- cribed ; when developed, washed, and passed through the alum bath, it is dried, and the operation is concluded. Should the negative be one taken in the usual manner, the following method must be adopted : the negative being printed in the usual manner must be developed upon the temporary support ; when dry it is ready for transference to the opal, which operation is conducted as follows : — Make a solution of Nelson’s No. i gelatine one ounce, water twenty ounces, soak the gelatine in the cold water first, then raise it to a gentle heat till solution takes place. In another vessel dissolve twelve grains of chrome alum in one ounce of warm water and pour it in a very thin stream into the gelatinous solution, stirring rapidly all the time. Having thoroughly cleaned the opal, put it into a small tray with the above solution. 62 or place the opal on a levelling stand, and pour on as much of the warm solution as the plate will hold ; then having the picture on the temporary support in cold water, place the two surfaces together, apply the squeegee gently to get rid of the surplus gelatinous solution and allow to dry. When perfectly dry the temporary support can be peeled off, leaving the picture firmly attached to the opal, the borders and edges may now be cleaned with a soft sponge and warm water if they are vignettes, and the shading can be modified to almost any extent by means of ink eraser or fine pumice powder. From good negatives, prints on opal have beauties peculiar to themselves, they are exquisitely soft and delicate in appearance, and are susceptible of a great range of artistic treatment in monochrome as well as in colour, and can be worked so as to be viewed both by reflected and transmitted light. Permanent Photographs on Ivory as a Basis for Miniature Painting. The ivory used is the same as that To smooth the ivory. Pictures on ivory by double trans- fer. I [ Transfer from temporary sup- port to ivory. 63 employed for miniature painting, and is sold fit for use ; however it sometimes happens that the surface is not free from scratches, and these imperfections are not visible until after the ivory has been immersed in water, then the marks and scratches previously filled up by the white powder of the ivory shew in a very disagreeable manner. When this occurs, take a piece of fine cork and with a little water and some cuttle fish powder go carefully over every part of the ivory ; when the surface is satisfactory wash with distilled water and wipe dry with a clean soft cloth. A photograph on ivory should always be done by the double transfer process, as any attempt to develope the picture direct on the ivory, will so stain the material with the free bichromate left in the pigment paper, as to render the ivory utterly useless. Having the picture printed and developed on the temporary support, take a piece of ivory of the proper size with its surface perfectly clean and free from marks or scratches, immerse it face to face with the Pictures on drawl- ing paper by single tratrsfer. (lelatine solution Conlingthejir jrer picture in the gelatinous solution as named in the preceding section, apply the squeegee carefully and allow to dry. The temporary support will peel away with the greatest ease, and leave the picture on the ivory in a most perfect condition for working in monochrome or colour. Permanent PhotoCxRAItis on Drawing Paper as a Basis for Work in Cravon, Water Colour, &c., &c. The pictures for this purpose, should by preference be printed by the single transfer process ; the drawing paper may be fine, medium, or coarse, according^ to the kind of picture wished for, it must be prepared with a solution made as follows : — Nelson’s fiake gelatine one ounce, water one pint, soak and dissolve by means of heat, dissolve twenty grains of chrome alum in one ounce of warm water and stir briskly into the gelatinous solution, adding the chrome alum solution very gradually. Pin the drawing paper upon a board, and coat it with this solution, using a broad 65 iingle transfer Irawing paper. /arieties of tint. iVlounting. Oevelopiiig. pxing in alum. camel’s hair brush, and putting on the solution evenly all over, allow this to dry, and then go over it again in a similar manner ; this operation will make the drawing paper suitable for the reception of the pigment print, will in fact convert it into single transfer paper : it can be purchased all ready prepared of the Autotype Company, and as crayon paper, in several varieties of tint. The prints, after being taken from the frames, are immersed in cold water and mounted upon pieces of the drawing paper cut to the sizes desired, in the same manner as before described at page 38, after allowing them to rest between blotting boards for a few minutes they are developed, then rinsed in cold water, and finally immersed in the solution of alum : the drawing paper being so much thicker than the ordinary transfer paper should be kept in the alum bath for a considerable time, in order that the chromic salt may be entirely got rid of, which may be known by the entire disappearance of the yellow tint. 66 rRANSPARENCIES ON GlASS. Pisjment pictures developed upon clear glass. Preparaticn of the glass. Gelatinous solution. Good deep jn-ints a necessity. Pigment prints developed upon glass are well adapted for making transparencies for reproducing inverted negatives for single transfer printing; also for enlargement pur- poses, and from sufficiently vigorous neg- atives they give fair results for the magic lantern. The first operation is to prepare the glass for receiving and holding firmly the image to be developed upon it, this is accomplished by coating the glass, which should be perfectly clean and free from any suspicion of greasy matter, with a solution made as follows : soak one ounce of Nelson’s gelatine in one pint of cold water, and dissolve by the aid of gentle heat, then add enough bichromate of potash with vigorous stirring to give it a golden sherry colour; this should be used warm, the plates coated and dried in daylight and they are all the better for being prepared some days before use. It will be found necessary to print the picture to a much greater depth than usual, and to employ a tissue made with very finely 6 ; ; divided colour, the Autotype transparency I tissue made with filtered colour is specially designed for this class of work, and is i calculated to give the required density, I without which the resultant transparency will ’ be flat and weak. For reproducing negatives jiplTr. "" it is manifest that every detail should be j brought out, and a very good estimate of I whether this is the case, may be formed, i by laying the transparency down on a sheet I of white paper ; if the paper shews through ^ in many places, the chances are that the ! transparency will be too thin, the exposure i having been insufficient ; but if the paper „ , shews in iust the few places where the Method of esti- ^ •’ liighcst Hghts are, the probability is that the transparency is about right; a good trans- parency should look vigorous and full of modelling when held up to the window. The print, when taken from the frame, is treated exactly as a single transfer print ; Mountin.a: and . . , developing. mountcd on the glass by immersion m cold water and a vigorous action of the squeegee, allowed to rest for a few minutes, developed, rinsed, treated with alum, finally rinsed and 68 Suital)le for en- larging from. Reproduction of negati\es. Magic lantern slides. Means suggested for getting sufficient \igour. 'I'issue best ada])ted. is, when dry, a finished picture. From these pigment prints, most excellent enlargements can be made: also by putting them into contact with dry plates, reproduced negatives can be secured, and by giving an opportunity for getting more or less density, the original negatives may frequently be considerably improved upon. Negatives so made are inverted and suitable for pigment printing by the single transfer process. It is not easy to get sufficient force from ordinary dry plate negatives to make good magic lantern slides ; in the days of collodion this difficulty did not present itself ; whilst writing this the author has been informed by a very well-known amateur, that if the tissue has been kept until it is nearly insoluble it is a very great help in this direction, the prints have to be very strongly printed and developed in water of a temperature of 1 20° to 130° Fahr. for a considerable time. Photographs in Pigment for Window T ransparencies. The pigmented tissue for this purpose should have the colour in rather large 69 quantity to give the necessary vigour. The Autotype Company’s special Transparency Tissue, will be found to produce very good pictures of a fine rich tone when viewed by transmitted light. In order to secure a bold and vigorous trong negatives ^ ecessary. image when viewed as a window transparency, a prolonged exposure under a strong negative ; will be necessary, in fact a negative that will not bear deeply printing is quite useless for this purpose. The print being made is laid down upon TTi'ned'giass. glass coEtod with gelatine and bichromate of potash, developed, washed, and fixed as previously described. As the picture can be viewed either through the glass or through the picture, either inverted negatives, or negatives made I in the ordinary manner may be employed, flnging.^ When dry the picture should be mounted I with a piece of ground glass, binding the two together with thin black paper, gumming \ small strips of card down the extreme edges to prevent the surfaces touching. Neat metal frames are to be procured, fur- 70 nished with rings for hanging in windows, where they make effective ornaments. It will be seen that the permanent pigment process lends itself to the production with ease and certainty of many different varieties of pictures. It is not pretended that this chapter has exhausted its applications ; many new ones will doubtless suggest themselves to the enthusiastic amateur or professional, and the Autotype Company will always be willing to consider any proposal for a modifi- cation of pigmented paper or material, and give any assistance that may be in their power, to the carrying out of new suggestions. THE AUTOTYPE PROCESSES. Hints in Pigment Printing. Putting in Skies and Cloud Eefects. As the pigment printer labours under the disadvantage of not being able to see what he is about, some means had to be devised to produce effects, which easy enough in silver, require special methods in pigment printing. Landscapes frequently require cloud effects printed from a different negative. It is not a difficult matter to print these by adopting the following method : — Holding the landscape negative up to the light with a piece of white paper against it, trace roughly the sky-line with a black lead pencil, lay this tracing on a piece of yellow paper and go over the outline with something blunt so as to mark it through on to the yellow paper, which cut with a pair of scissors and trim its edges to the exact size of the negative ; having selected the cloud negative, lay the landscape negative upon the cloud 72 negative, so that the cloud effects wished for, appear in the sky portion ; with a piece of black crayon (which will easily rub off), go round the edges of the landscape negative, so as to mark its exact position upon the cloud negative, with reference to the cloud effect to be printed. Place the blank which represents the sky, upon the back of the landscape negative, and place the counterpart (representing the fore- ground, &c.) upon the front of the cloud negative, the outline tracing of the land- scape negative being the guide to position. The printing may now be begun, the state of affairs being this — a sky mask on the landscape negative, a foreground mask on the cloud negative. Cut a piece of sensitive tissue the exact size of the landscape negative, print it in the usual way ; when sufficiently exposed, place the printed tissue on the cloud negative, registering it accurately by the traced lines which give the exact size and position of the landscape negative, place in the frcime, and with a piece of card just soften the edge of 73 the sky-line by moving it up and down over the junction ; the exposure will be very short in a good light, and the whole operation although lengthy in description is exceedingly easy and simple in practice. Printing in Backgrounds. This is very simple ; place a piece of white ?oundf. paper on the face of the negative, and holding it up to the light, carefully trace the outline of the figure, or so much of it as is wished for, lay this tracing on to thin yellow paper and mark it with a blunt stiletto or style, so that the outline will be visible on the paper. Cut round this outline carefully with a pair of scissors, and with a few dabs of strong india-rubber solution place the background mask in its position on the face of the negative. It is now ready for printing. Cut the piece of sensitive tissue the exact size of the negative (it must be the exact size), and lay it accurately upon the negative so that its edges coincide with the edges of the negative ; a good way to do this is to push the negative up to, say the left-hand top corner and side of the pressure frame, and 74 make the piece of sensitive tissue also touch the top and left-hand side of the frame ; expose to light as usual — now take the nega- tive out of the pressure frame, and put a few dabs of the india-rubber solution upon the 7tppev side of the figure mask — now lay it (the mask) down upon the negative, fitting it in to the background; the whole being in position, and the negative now entirely covered, lay the tissue, with the figure already printed, down very carefully, again registering its edges with the edges of the negative, press the tissue on the figure mask which has the india-rubber solution, and allow to remain two or three minutes ; the tissue may now be raised with the figure mask adhering to the tissue in exactly the right place to shield the figure ; the arrange- ment is now placed under a sheet of clear glass, the background printed in, toned, shaded, or treated in any way that may be necessary. The india rubber solution should be very thick, and it will not affect the tissue in the least, if before development what remains is 75 rubbed off with the finger or a piece of soft cloth. Trimming the Prints. Trimming T\\G bcst modc of trimmino: is by cuttinc: with a glass shape and a long pair of paper- hanger’s scissors ; of course any of the varieties of cutting knives in vogue may be employed, but they all, more or less, pull or jag the edge, and by far the neatest work is made with the scissors. Mounting the Prints. Mounting Autotypes. Usual objections to ordinary inountants do not apply. The mounting of Autotype prints -whether single transfer, or by the double transfer process, from rigid, or flexible supports — may be conducted exactly in the same manner as for ordinary silver prints ; mounting them with starch, dextrine, gelatine, or any of the usual mountants ; if portraits, they may be spotted, rolled, or burnished ; treated, in fact, much the same as other photographs. The objections raised to starch or gum as the medium for mounting silver photographs do not apply to the present case, as the colours of the pictures being permanent, are 76 not liable to be decomposed by acidity in the mounting- solution or the action of atmospheric air, 8ic. ; therefore any of these substances may be employed. When pictures, such as cartes-de-visite or ‘uSuine. cabinet portraits, are to be mounted on small thick mounts, thick starch is a very con- venient material ; dextrine mixed up very thick with water is also easy of application, but as both starch and dextrine take up a great deal of water, they are liable to make the board or mount cockle very much when of large size ; to remedy this a mounting compound has been prepared containing spirit which does away with this disadvantage. In applying cement, of whatever kind it may be, it is necessary to avoid touching the face of the print with it, as it is liable to injure the surface, especially if friction be applied whilst it is still moist. 77 Failures. Tissue does adhere to tran< THE AUTOTYPE PROCESSES. Failures and their Remedies. To the inexperienced in pigment printing, failures will inevitably arise just as they would in any other. branch of novel manipu- lation, and when it is considered with what uncertain compounds the manufacturers of the pigmented papers have to deal, it is a little surprising that so few of the failures arise from the materials employed. In treating of failures, the same order will be observed as has been followed in treating the subject generally, commencing with those appertaining to the excitation of the pig- mented papers and going regularly through the whole of the processes. Insolubility of Tissue. Tissue does not stick to the transfer paper, &c. This shews itself principally in two 'fer ways — first, the tissue refuses to adhere properly to the transfer paper or to the 78 temporary support — second, when it is attempted to develope the image in warm water, it is found to be difficult or impossible to wash away the surplus pigments, and con- sequently the latent image produced by the action of the light is buried and invisible. This state of things is the result of in- solubility of the tissue and may be produced {a) by the use of a sample of' bichromate of potash containing a good deal of free acid- - (d) drying the sensitized tissue too slowly — (c) not being careful to exclude white light whilst drying — (d) by the tissue being kept too long after having been made sensitive, or not being carefully preserved from light and air; if tissue is purchased in a sensitive condition troubles of this kind are not likely to arise. kAILURES IN THE FiRST TrANSEER PREVIOUS TO Deveeopment. On attempting to develope the picture it a tendency to wash up at the edges, this does not arise from insolubility of the tissue, it is probably owing to a too long 79 immersion of the printed tissue in water before mounting, the remedy will be not to allow it to remain so long in the water, but remove it before it has had time to expand and begin to curl outwards (see special in- structions on page 38). This failure may also arise from the margin of the negative having been masked on the negative so as to print quite white, and should there be a heavy shadow in the picture coming against this white portion, it is very likely to wash up. The remedy is, to always place the mask on the glass side of the neo^ative. The picture on development appears with bubbles or irregular froth-like markings. This generally arises from air having been included between the tissue and its support, and the subsequent action of the squeegee''" having been insufficient to get rid of it. The remedy will be to pass the hand carefully over the face of the tissue when placed in the water to remove the air bubbles, and not to * Note especially the vigorous application of the squeegee as given on p. 38. 8o allow any air to be included between the tissue and the support upon which it is to be developed, getting the two surfaces into absolute contact. Air entangled in Thorc is anothcr causo whicli but rarely the water. occurs, but however, is worthy of notice ; if the water comes in from the tap at a very high pressure, there is generally a large quantity of air included, evinced by a sort of milky appearance, which disappears after the water has remained in the bath or tray for a few minutes. If the water itself is not free from imprisoned air, a perfect transfer for development is impossible. The picture is difficult to develope and Picture too dark, dark uidd licavy. Due either to over exposure or to insolubility of tissue ; try hotter water or expose for a shorter period. If the tissue is insoluble it is waste of time going on with it. The picture developes very readily and is Picture too light, too light. Iiisufficiont exposure to light, the tissue too new, or perhaps want of suffi- cient sensibility in the tissue by reason of the bichromate bath being too weak — for sen- 8i sitizing, the bichromate solution should be of the proper strength, not less than four per cent, (see page 19). Granular texture and reticulation all over granular texture picture. This is a failure peculiar to pictures developed on glass. Most of those who meet with it for the first time, at once put it down to “ bad tissue,” but that this is rarely the cause is manifest that one operator will produce perfect pictures, whilst another operator will produce the most startling examples of granular structure from the same band ot tissue. Insoluble skin To uvoid re ticulutiou , there must be a very delicate insoluble skin over the face of the tissue (this is produced by slow drying) ; it is not sufficient to interfere in the least with the brilliancy of the picture, but it holds the film together and prevents its disruption — it is for this reason that tissue coated with collodion and dried, never reticulates. If the tissue is not purchased ready for use, it should be excited upon a five per cent, solution of bichromate, treated with the squeegee, placed upon blotting paper hung 82 over sticks carrying cardboard, and allowed Slow drying. slowly at ail Ordinary temperature in a room that has had a fire in during the day (see page 21). The sensitizing bath should never have a Cool sensitizing higher temperature than 60 degrees Fahren- heit, also the water in which the transfer to the opal or glass plate is effected should never be of a higher temperature than that just named ; these last two directions are very important in the summer time. Loss of half Th^ loss of the half-tints. This is some- tints. times from the same cause as the evil for which the remedy has just been pointed out, but it is very often due to the fact of the tissue not having been excited upon a bath of sufficient strength, or that the tissue is used too soon after beinof sensitized ; tissue excited as described at page 19, is at its best from one to three days after being excited, and will preserve the most delicate half tints ; loss of half tone is sometimes due to insufficient exposure, and sometimes to the water being used too hot to begin with in developing: the best method of developing is to strip the pictures in water of about lOO degrees Fahrenheit, then clash the water well over them, and then allow the plates to develope themselves in the warm water ; they wall do that admirably, and may be taken one by one to be finished wdth hotter or colder water as circumstances may require. Shining specks. Minute shining specks. These arise from air imprisoned between the face of the tissue and the plate in laying down the tissue in the first transfer ; the remedy is to pass the hand over the face of the tissue so as to remove any adherent air airbubhfes°^ bubbles, lay it carefully down, holding it by opposite corners, and letting it touch the plate only at the diagonal line at first, and then lower the corners. In applying the squeegee, holding the plate with the left hand, begin just a little past the centre, a little nearer to the left hand than to the right, scrape off the superfluous water over the rightdiand edge of the plate, then turn it round and repeat the operation towards the other edge ; by applying the squeegee in this 84 manner, any air bubbles there may be, will not have so far to travel, and will be driven clean off the plate instead of remaining to be churned into froth under the action of the squeegee. Failures in the Final Transeer. J)ifticully in The picture obstinately refuses to leave the opal. Entirely the fault in waxing: the Autotype waxing solution alone must be used, it must not be polished off too closely, especially when the opal is new (see page 49); when the plates have been employed many times the same care is not necessary; it has frequently been observed that an old plate will allow of a picture being stripped from its surface, without being re-waxed at all, but new plates must have a sufficiency of wax left upon them. Weak prints and the colour grey and poor-looking. It is an axiom amongst silver printers, that a good vigorous nega- tive will produce a fine-coloured print, and Weak prints. that a poor weak one can only be made to yield weak-looking prints ; just the same «5 Shining lines against deep shadows. holds good of pigment printing; from the same batch of tissue can be produced the most brilliant and fine-coloured prints, and also the poorest and greyest looking things imaginable. To produce prints of a good colour it is necessary to have reasonably good negatives ; if the negatives are thin, a weak sensitizing bath should be used and the negatives backed with thin paper to help the contrast. Shining lines or patches against the edges of the deeper shadow. This defect generally occurs where a deep shadow comes next to a strongly lighted portion of the picture, and is caused by the hnal support not having been soaked suffici- ently in the tepid water to render it pliable (see p. 54) ; so that instead of adjusting itself to the relief in which the pigment picture is formed, it bridges over the interval and the white or shining line shows the imperfect contact. The remedy is to allow the transfer paper to soak for a longer time so as to ensure a sufficient “ cotiche ” of softened gelatine for 86 the pigment print to rest upon in perfect contact. Fading and Deterioration. Pigment pictures are supposed to be per- manent, and they are so exactly to the extent that the pigments employed are permanent ; so long as the latter belong to the class known as permanent pigments, and the prints themselves are freed from the chromic salts, pigment pictures are as permanent as paintings, engravings, water colours, or any other artistic work. Gelatine, which is employed somewhat extensively in the process, is in itself a very lasting and durable substance, and when hardened by the action of alum it becomes practically the same as vellum or parchment. The very fact of the pigment being locked up in the insoluble gelatine is in itself a very great aid to permanency. It is believed that most of the pigments employed by artists, if they do not act upon or decompose the gelatine, may be employed in the manufacture of tissue, and the result will be as satisfactorv 87 as regards permanency, as that of any artistic work in water colour. The basis of most of the tints of Autotype tissues is carbon, the material that enters so largely into the composition of printers’ ink. The other colours employed are red and blue. The blue employed by the Autotype Company is a permanent colour specially treated in a gelatinous compound producing in combination with differing proportions of red and black the varieties of purple and brown obtainable in Autotype tissue. The invention of artificial alizarine by Mr. Perkins, and the successful issue of the experiments carried on at the Autotype Works, some years ago, for its manufacture as a scarlet or crimson lake, has enabled it to be employed as a permanent colour, and thus replace the handsome and powerful tones of the cochineal colours which experience has shewn to be not absolutely stable ; for such colours as sepia and red chalk, the iron oxides are employed ; these are amongst the most permanent coloring matters known. There is one element of change that 88 Autotype, in common with everything having- paper for a basis, has to contend against, and that is the discoloration of the paper. It is practically impossible to find a paper that is unchanged in tint after a week’s exposure to daylight. This can only be overcome by choosing those papers which change least, and in the case of the Autotype final support made by the Company, and which forms the basis of prints in pigment from ordinary negatives, the introduction of permanent white into the coating eliminates this defect. One cause of fading or deterioration may be the failure in getting entirely rid of the surplus bichromate salt. The picture must be immersed in alum, which should not be weaker than one part of alum to thirty of water, and it should there remain till all yellow colour has entirely disappeared ; this is very easy to effect in double transfer from rigid surfaces ; a little more care is required with the dexible support, and with single transfer prints ; the latter being mounted at once and developed upon the paper upon which they are destined to remain, the bichromate gets 89 into the paper, and stains it a yellow colour; this should be perfectly got rid of by the action of the warm water used in development followed by the alum bath. Fortunately the yellow colour is so apparent that its imperfect elimination is easily detected, and it is not too much to say that by the processes described in this Manual, photographs that will last as long as the material upon which they are made, may be produced, to suit many different purposes, and to meet a great variety of needs. 90 THE AUTOTYPE PROCESSES. FoRMUL/E. SensUizing solution (p. igj. (a) Granulated bichromate potash . Water of . 15 ounces. 2 gallons. (d) Commercial bichromate of potash . Strong Liquid ammonia Water . . . . 5 ounces. 1 dram. 2 gallons. Alum solution for fixing the prints (pp. 37—40/ Common alum . . . . i pound. Water . . . . .2 gallons. A lum solution for the immersion of the Autotype final support (pp. 44 — 53 ^. Common alum . . . .8 ounces. Water . . . . ,2 gallons. 91 Waxifig solutioji for Sa^vyers temporary support (p. 42/ Yellow resin . . . .6 drams. Pure bees’ wax . . . .2 drams. Turpentine .... 1 pint. Or dissolve a cake of the waxing compound sold by the Autotype Company, in a pint of turpentine. Transfer solution for opals. Nelson’s No. i gelatine . . i ounce. Water . . . . .1 pint. Chrome alum . . . .12 grains. Dissolved in water . . .1 ounce. P'or instructions as to mixing, see p. 61, Sitbstrahiin for transparencies a 7 id magic ta 7 itern slides. Nelson’s No. i gelatine . . i ounce. Water . . . . .1 pint. Soak the gelatine in cold water, then dissolve by gentle heat and add enough bichromate of potash to give it a sherry colour. 92 Solution for the transfer of pie tn res to ivory, same as that for opal. Solution for preparing drawing paper for the reception of single transfer pictitres. Nelson’s No. i gelatine W ater . . . . Dissolve by gentle heat. Chrome alum . Water . . . . 1 ounce. I pint. . 20 grains. 2 ounces. Dissolve and pour very gradually and in a thin stream into the gelatinous solution, stirring vigorously all the time. I; 93 THE AUTOTYPE PROCESSES. A perusal of the preceding pages, will, it li is hoped, be sufficient to prove that the making of photographs in lasting materials presents no difficulties that may hot be over- come with a fair amount of perseverance and skill, whilst the wide range of application, the variety of colour, and the artistic effects attainable, render the Autotype processes unique amongst all other methods of pro- ducing photographs. The question of making reversed or inverted negatives will now be discussed, with a view to rendering the future working of the process so easy as to induce all interested in photography to give it their attention. Reversed or Inverted NeGx\tives. The ease and simplicity of the single Inverted prints transfer process would at once commend by sinsile transfer • i r • 1 1 1 i Itself to either the amateur or the general photographer, were it not for the fact, that from ordinary negatives, the prints are in- verted, that is to say, the proper left hand of 94 Non -inverted prints hy doultle transfer. Inverted nega- tives. Film negatives. Negatives taken through the glass iset'ersing the plate, glass next he lens. the picture comes to the right hand, and vice versa : as will have been noted, this may be overcome by an additional operation, viz. — developing the print on a temporary support, from which it is transferred to its final resting place ; this, by turning it over, cures the inversion of the image ; but it suffices to take the series of operations out of the charmingly simple method of single transfer; the question is, whether the negatives cannot be easily made so as to print pictures that will not have inverted images. First and foremost there are the films for making negatives upon, these are being per- fected, and the tissue is coming into the market, if these can be made perfectly successful it will be a great boon, as it will at once do away with the trouble, risk, and weight of glass, and give negatives that can can be printed from either side. Next there is the very simple expedient of taking the photograph through the glass of the plate, i.e., putting the plate in the slide with the glass next to the lens instead of the film, taking care that the glass is clean, and 95 E!asy of cleve’.op- ment. Negatives have same appearance as ordinary ones. I 1 Inverted nega- tives produced from pigment transparency. placing a piece of black cloth or velvet next to the film to prevent injury from the spring of the dark slide ; this method is admirably simple, the negatives are just as easy to manipulate as those made in the ordinary manner, when developing it is only necessary to raise them in the dish so as to see the glass or under surface, and when the high lights begin to show on the upper surface, the development will be pretty nearly com- pleted ; a little practice will render the development easy, and the results are quite indistinguishable from those taken in the usual manner. The slight difference in focal length caused by the thickness of the glass may be disregarded, and in fact will in the majority of cases be an improvement, as it will bring the nearer objects better into focus, a result which, nine times out of ten, will improve the picture. Another method of obtaining inverted negatives is to print a transparency from the original negative in Autotype transparency tissue, this will render it possible to print in clouds, or shaded skies, to modify shadows. 96 Print on dry plate by contact. Modifications possible. T'he reversing mirror. and to considerably improve upon the original ; when a good transparency is obtained and when quite dry, place it in a printing frame in contact with a good slow dry plate, and expose for a few seconds to a gas or lamp flame some yard or two away, and develope this with whatever de veloping formula is most approved ; at this stage, modification is possible, the reproduced negative may be made more or less intense, and a clever operator will frequently make a reproduced negative a good deal better than the oriorinal, and o o this being an inverted negative, will pro- duce prints by the single transfer process, having proper rights and lefts. For the professional man, or those who propose to work on a large scale, the rever- sing mirror is the practical method ; by its use inverted negatives result because the lens does not take the photograph of the object, but only a photograph of a reflection of the object, thus giving an inverted image which, printed by single transfer, comes out with its proper right and left. 97 The reversing mirror offers great advan- tages in the copying of engravings, drawings, plans, medallions, and in fact all objects which it is difficult or impossible to place in the usual vertical position, as by employing the mirror the objects simply require to be arranged on the floor, or upon a horizontal board capable of being adjusted to various elevations. The camera is placed in such a position that the mirror looks down upon the objects to be taken, which of course keep their position by their own gravity, and the illumination being vertical, there is a remark- able absence of texture or grain, which in the case of drawings, &c., is an immense advantage ; whilst for medallions or objects in which strong relief and light and shade is desirable, it is very easy, by covering over the top of the camera and using only a side light, to obtain any amount of relief. scriptionofthe Autotype Compaiiy have devised a 'ersmg mirror, convenient fomi of apparatus, consisting of a mirror formed by depositing a coating of pure silver upon a surface of plate glass ground and polished to a perfectly true plane; this mirror 98 One varioii is set at an angle of 45° in a well-constructed mahogany box, which fits on to the front of the camera, and is kept in its position by very simple means. In taking views, portraits, &c., the cam.era is turned sideways to the object taken, so that the rays of light pro- ceeding from the objects to be photographed are reflected from the mirror through the lens and thence to the sensitive surface; in this manner the negative is reversed, but in every respect it will be of a quality quite equal to one taken in the usual manner. By the method of arrangement and fittings mirror for adopted by the Autotype Company, the same mirror will answer for all sizes and kinds of lenses, provided of course that it is large enough for the largest lens ; in the old form it was deemed necessary to have a separate mirror for each lens, and the method of mounting besides was unnecessarily expen- sive and allowed extraneous rays of light to enter the lens, thus interfering with the definition and vigour of the negative. PRICE LIST OF TISSUE AND MATERIALS USED IN THE PRODUCTION OF PERMANENT PHOTOGRAPHS. THE AUTOTYPE COMPANY, LONDON & EAUNG DENE, CONTENTS OF PRICE FIST OF TISSUE AND MATFRIAFS. V Autotype Tissues, Sensitive .... Single Transfer Paper ..... Sawyer’s Temporary Support .... Autotype Final Support ..... Auto’i’ype Tissues, Insensitive .... Hot Water Apparatus ...... Developing Plant and Apparatus, Special Sets Apparatus and Material ..... Auto'pvpe Varnish ......' Saimples of Tissues ...... ’AG 5 6 6 7 8 9 lo 1 1 12 12 THE AUTOTYPE COMPANY’S PRICE LIST OF MATERIALS S APPARATUS FOR PRODUCING PERMANENT PHOTOGRAPHS BY THE T O T Y E R O C E S S. In issuing this Price List of Autotype Tissue and Materials, we have considered that it would be advantageous to make it of a somewhat more extended and explanatory character than here- tofore, and of calling attention to certain recent improvements that have the eftect of rendering the production of Permanent Autotypes extremely simple and easy. Amongst the many advantages of the Autotype Process stands the fact of being able to produce permanent photographs in several different colours ; pictures can be made, not only in the tint of a well-toned silver print, but in Engraving Black, Sepia, Red Chalk, and other shades of colour, thus conferring upon photography the added power of rendering copies of art works as well as natural objects, in the tint best suited to them. We have made arrangements for the supply of Tissue sensitive to light, in the following colours : Standard Brown, Engraving Black, Sepia, Red Chalk, and Transjiarency ; these are manu- factured twice a week for our own use at the Works, will be sent promptly by Parcel Post, cut to sizes to suit clients, and ready to place m the Printing frame. ^Ve have of late much improved the make of Sawyer’s Patent Temporary Support. It has been for years in daily use at the Works, and greatly facilitates Autotype printing from Negatives taken in the ordinary manner. It is sent out ready for use, and if its surface be treated with a slight rub over with the waxing compound before each time of using, the same piece of support may be used an indefinite number of times, and the results will not fail to be satisfactory. By means of this Temporary Support, Autotype prints can be transferred to Opal, Drawing Paper, Canvas, Ivory, &c., and, in short, it enables photography to be applied to decorative and other purposes to which it has hitherto been a stranger. One of the difficulties in Autotype Printing has been due to the fact that the Final Support or Double Transfer required hot- ter or cooler water according to its age or insolubility, thus introducing an element of uncertainty into the final operation. To remedy this and to improve the finished result we have introduced a new Final Support which we think may with advantage replace the Double Transfer ; this v/e have named Autotype Final Support^ the final transfer of the developed picture to its surface is very easy and simple, and it affords every security that the picture rests upon an insoluble and inalterable base. Full instructions for use will be sent with each roll or packet, and every roll or cut piece will be marked | F. S. 2. | We have put together and quoted prices for Sets of Apparatus suitable for Printing Autotypes of various sizes, have included some convenient sources of hot water supply, and we hope that in the present Price List will be found all the necessaries, and most ol the conveniences, calculated to render the Printing of Autotypes easy and satisfactory. THE AUTOTYPE COMPANY. 5 AUTOTYPE TISSUES. (SENSITIVE, Ready for use.) Colours. Standard Brown Engraving Black Sepia Red Chalk I Per Band, 12 ft. long, 30 in. wide j-Per Half-Band, 12 ft. long, 15 in. wide j Per Quarter-Band, 6 ft. long, 15 in. wide 7/6 4/0 2/6 CUT PIECES — OF THE ABOVE Colours. Sizes — 43: liy 3I 65 by 4I 7 by 5 by 6^ lo by 8 12 by 10 Per dozen sd. lod. i/o 1/6 2/0 3/0 15 by 12 in. 4/0 I'RANSfARKNCY & MAGIC LANTERN TISSUE. (Senslitve. Ready for use.) CUT PIECES. Sizes— 4 by 4 4I by 31 6|- by 4I 85 by 6|- in. Per dozen 8d. yd. 1/3 2/0 The above Tissues are manufactured in a sensitive condition for our own use twice a week, and may always be relied upon as being in perfect condition for use, the Bands, Half-Bands, and Quarter-Bands are in rolls, and placed in air-tight tin cases, charged 2/- each, which will be allowed if the cases are returned in good condition. The Cut Pieces are carefully done up in waterproof wrappings, and if kept in the Company’s special Pressure Boxes they remain Hat and in good condition. The date of manufacture is placed upon each tin or packet, and the Tissue can be depended upon as being fit for use for a fortnight from such date, if preserved from, light and air. 6 SINGLE TRANSFER PAPER. Mark | s. T. 1 . | This is a line paper coated with insoluble gelatine, forming the support of Autotype Prints from especially made reversed negatives, or for prints where inversion of the image is of no consequence. Single Transfer Paper, thick for large work, per Band 12 ft. by 30 in. 3/0 ,, ,, ,, medium thickness ,, ,, ,, ... 2/9 ,, ,, ,, hue thin, for small work ,, ,, ,, ... 3/6 CUT PIECES. — Single Transfer, Medium Thickness. Sizes — 5 by 4 7 by 5 9 Ijy 7 n t>y 9 hy 10]- 15.V by 12^- in. Per dozen 2d. qd. 8d. i/o 1/6 2/0 Mark MPORARY SUPPORT. I T. S. 112. 1 Tliis mateiial forms the Temporary Support upon which are developed pigment prints from ordinary negatives ; it is a specially prepared paper coated with insoluble gelatine, and solutions of certain lacs ; it permits of the prints being developed upon it with the same ease and facility as Single Transfer ; the prints when finished and placed in contact with the surface of the Autotype Einal Support, adhere finally to it, and will leave the Temporary Support with a gloss similar to Albumen Taper. The Temporary Support may be used an indefinite number of times, only requiring to be rubbed over with the waxing solution to ensure the stripping of the print from its surface. CUT PIECES. .Sizics— 5 by 4 7J- by 5} gA by jy 11 Ijy 9 13 by 11 16 by 13 20 by 17 23 by 18 in. Per doz. gd. i/o 1/6 1/9 2/0 2/6 3/9 5/6 Other sizes cut to order. Full instructions for use sent with each packet. 7 AUTOTYPE FINAL SUPPORT. Mark | f. S. 2. | Thi s is a special paper coated with a gelatinous emulsion of a pennanait white or tinted pigment. It is intended to supersede the old Doul>le Transfer by reason of its greater efficiency, and the ease and simplicity of working with it. It forms the perui a fu’/it base of pigment prints from ordinary negatives developed upon Sawyer’s Temporary Support, or upon* Collodionized glass. For use all that is necessary is to immerse whatever cut pieces may be required in a two per cent, alum solution for an hour or so, they are taken out as they are wanted, immersed with the ]:>icture to be transferred in clean tepid water, the surface of the picture and the surface of the final support forced into contact by the action of the squeegee, hung up to dry, and when dry the picture will be found firmly adherent to the now insoluble per- manent basis, permitting the temporary support to be removed for further use. In two Shades — “ Azure and Opal.” Medium thickness, per Band, 12 feet by 30 inches ... Fine thin, for small work ,, ,, CUT PIECES. — Opal shade. SiZE.s — 4^ by 3I 7 by 5 9 by 7 ii by 9 12} by 10} 15]- by i2j Per dozen 3d. 3d. gd. 1/2 i/g 2/6 Other sizes cut to order. N.B. — The Autot)q)c Double Transfer is now retired from the (Company’s Lists, but will be made to the order of Clients requiring the same. 3/0 3/6 22 by I 3/6 8 AUTOTYPE TISSUES. Colours. Standard Brown Standard Purple Engraving Black Warm Black Sepia Red Chalk Dark Blue for Night and Cloud effects (INSENSITIVE.) Per Band I2 ft. long, 30 in. wide 6/6 Per Half-Band, 12 ft. long, 15 in. wide ... 3/6 Per Quarter-Band, 6 ft. long, 15 in. wide 2/0 Sizes — Sk by CUT ITECES-of the 65 9j by 6 k 10 by 7 Per dozen 1/6 1/8 i/io ABOVE COEOURS. 10 by 8 12 by 10 2/0 3/0 15 by 12 in. 4/0 SPECIAL TISSUES. Per Band, 7/0 Half-Band, 3/9 (Quarter- Band, 2/0 Portrait Brown | Portrait Purple J CUT PIECES— OF 'I’HE ABOVE Special Tissues. Sizes — 8^ by qA by 6^ 10 by 7 10 by 8 12 by 10 15 by 12 in. Per dozen 1/9 2/0 2/3 2/6 3/6 4/6 Special Transparency \ Tissue for Enlarge- y inents, Magic Lan- j tern Slides, &c. j Per Band, 12 ft. long, 24 in. wide Per Half-Band, 12 ft. long, 12 in. wide Per (Quarter-Band, 6 ft. long, 12 in. wide 8/6 4/6 2/6 CUT PIECES— Special Transparency Tissue. Sizes— 8|- by 6.} 8Q by 8|- 9^ by 6 k 10 by 8 12 by 10 15 by 12 in- 2/0 2/3 2/3 2/9 4/0 5/0 The above Tissues are sent out in an insensitive condition, and will recpiire making sensitive to the action of the light before use. Full instructions are sent with each packet and the Tissue will keep good before sensitizing an indefinite time. 9 HOT WATER APl’ARATUS. As ])igment prints are developed in warm water, temperature from 105^ to iio*^ ?Ahr. , it might be supposed that a considerable supply of water would be necessary. This, however, is by no means the case; it is not of the slightest consequence how apparently dirty the water in the developing tank becomes, the prints come out, after the water has been used for an hour or two’s developing, just as clean as at first; all that is absolutely necessary, especially for an amateur, or for anyone who does not produce large quantities of prints, is some means for getting the water in the developing tank up to the proper temperature, and then keeping it there. Where gas is laid on, and convenient to arrange, a Fletcher’s Gas Boiling Stove is the very thing; where gas is not handy, Rippingille’s ‘Hero’ kerosene stove is absolutely perfect, the small size tank will stand very well on the top of the stove, the larger sizes can be supported above it on cheap iron stands sold by the Autotype Company. For persons who desire a large supply of hot water for pigment printing or other purposes, the Autotype Company can warmly recommend Ewart's patent Ceyser. Ewart’s Ceyser gives hot water at any temperature up to boiling point, 212*^ Fahr. , indicates the temperature of the water as it flows from the apparatus by means of a Thermometer placed in a conspicuous position — has a new patented arrangement by which the gas is lowered to a minimum point as soon as the water is turned oft', thus avoiding all risk of ex- plosion or damage to the Geyser. PRICES. Ewart’s Patent Geyser Fletcher’s Gas Boiling Stove ... The ‘Hero’ Kerosene Oil Stove Iron Tressels for supporting Developing Tank over the £700 046 076 Gas Boiling Stove Ditto, over the ‘ Hero’ Stove .. per pair 030 030 ]0 SETS OF APPARATUS FOR THE DHVHLOPMEXT OF PIGMENT PRINTS. No. I. No- 2. No. 3. No. 4. For picture.-. 4 r by 3 1 6 \ by 4:1 8-j by 6^ i2 l)y 10 and under, and under. and under. and under Stout Tin Mounting Tray 3 /j 4/6 5/6 6/6 Stout Tin Developing Tank... 4/0 5/6 6/6 7/6 Three Nested Zinc Trays for cold water lo/b i 3 /o 24/0 27/0 Deep Porcelain Dish for Alum 2/3 3/0 4/3 5/3 Two Autotype Pressure Tissue Boxes... 6/0 7/0 8/6 lo/o Thermometer 2/0 3/3 3/6 3/6 Squeegee ... 1/6 2/0 2/6 3/0 Squeegee Board Sawyer’s Actinometer 2/0 3/3 4/0 4/6 5/0 5/3 5/0 5/0 American Clips i/o i/o i/o i/o Bibulous Boards ... i/o i/o i/o 1/3 French Chalk for Glass Plates 6d. 6d. 6d. 6d. Three dozen packets of Tissue 1/3 2/6 4/6 9/0 C.»ne dozen Temporary Supports gd. i/o 1/6 2/0 Three dozen Final Support ... gd. 1/3 2/3 5/3 Waxing Solution for Temporary Support i/o I/O I/O I/O hdve ounces Transfer Collodion i/o I/O i/o i/o One yard Cotton Flannel 6d. 6d. 6d. 6d. Bottle Black Varnish 6d. 6d. 6d. 6d. Brush for ditto 2d. 2d. 2d. 2d. ‘Hero’ Kerosene Oil Stove 7/6 7/6 7/6 7/6 Iron Tressels for supporting Developing Tank over Stove 3/0 3/6 3/6 3/6 2 715/3 3/12/5 4/8/3 5/5/2 If with Ikirton’s Actinometer in lieu of Sawyer’s, i/6 per set more; if willi Johnson’s, 2/6 less, (iase and Packing for No. i size, 2/6, No. 2, 3/6, No. 3, 4/3, No. 4, 5/6, wliicli will be credited if the cases are returned in good condition, and free of cliai'ge. N. Ik- -Any of the above Articles may l)e had separately or others sul)- ^tiluted from the following list. Estimates given for larger sizes. SPECIAL APPARATUS AND MATERIALS. No. I. No. 2, No. 3. No, 13 by 11 18 by 15 22 1^3- 17 25 by Developing Tanks 4/0 5/6 6/6 7/6 Tin Mounting Trays 3/0 4/6 5/6 6/6 Zinc Cold Water Trays 3/6 6/0 8/0 9/0 Deep Porcelain Trays for Alum Solution 2/3 3/0 4/3 5/3 4 -. [Q.i n. The Autotype solid back Pressure Frame, in pine — Quarter. Plate, i/o, Half-Plate, 1/3, Whole Plate, 2/6, 10 in. by 8 in., 3/6, 12 in. by 10 in., 4/6, 15 in. by 12 in., 6/0. Ditto, in Mahogany — Quarter-Plate, 1/6, Half-Plate, i/io, Whole Plate, 3/6, 10 in. by 8 in., 4/6, 12 in. by 10 in., 5/9, 15 in. by 12 in., 7/0. Autotype Pressure Tissue Boxes, weighted lids — Quarter-Plate, 3/0, Half-Plate, 3/6, Whole Plate, 4/3, 12 in. by 10 in., 5/0 Jolinson’s Actinometer, with Sensitive P?per J. R. Sawyer’s ditto ditto H. J. Burton’s ditto ditto Sensitive Paper 8 in., 1/6, I .Squeegees .Squeegee Boards Indiarubber Cloth American Clips Blotting Boards Waxing Compound, in cakes, for solution in Turpentine Waxing Solution, ready for use Black Varnish for edging Negative Brush lor ditto Orange Vignetting Paper Powdered French Chalk, for glass plates ... Transfer Collodion for developing upon, per 5 oz. bottle Cotton Flannel for applying French Chalk and Waxing Solution, per yard 6d. Permanent Autotype Ruby Fabric, the best material for developing Rooms ... ... ... ... ... per yard 2/0 Autotype Sensitizing Compound... .. ... ... per tin i/o 2/5 5/0 6/6 6 d. 3/0 5/6 8 d. per rouleau 2/0, 15 in., 2/6, 18 in. 2/0 3/0 4/0 per square foot ... per dozen i/o i/o each 5 oz. bottles, i/o, per pint . .per bottle, 6d. 2/6 6d. 2d. ... per quire 2/0 per box 6d. i/o, per pint 3/6 PURE GRANULATED BICHROMATE OF POTASH, 2/0 per lb. AUTOTYPE GELATINE, 3/6 per lb. AUTOTYPE COUIDDION, VARNISHES, &c. SPECIAL VARNISH POR DRY PLATE NEGATIVES. Winchester of 4 pints ... io/6 Single pint ... 3/0, bottles included. Gelatine Negatives coated with this Varnish are perfectly safe if the Instructions sent with each bottle are carefully observed. The Varnish is absolutely damp-proof, and the atmosphere cannot affect the film. For Crucial trials, see The British Journal of Photography, Sept., 19th, 1879. Dries hard, brilliant, and will bear any amount of wear and tear in printing. SAM PEES OF TISSUES & TRANSFER PAPERS, &c. The Autotype Company send out sample packets of two sizes, contain- ing as follows : 1 Sheet of Insensitive Tissue, each — Standard Brown Standard Purple Portrait Brown Portrait Purple Warm Black Engraving Black Sepia Red Chalk and Special Transparency. 2 Pieces of Flexible Support 6 Sheets of Single Transfer 6 Sheets of Autotype Phnal Support. Free per post, 12 by 10 size, y\o, Whole Plate, j\o. OF THE autotwe Company's FINE ART CATALOGUE. ANCIENT AND MODERN MASTERS FROM THE CELEBRATED GALLERIES AT HOME AND ABROAD. REPRODUCTIONS OF WORKS OF LIVING ARTISTS. NEW PUBLICATIONS. ART PHOTOGRAPHS. THE AUTOTYPE COMPANY, 74, NEW OXFORD STREET, LONDON, W.C. INDEX TO THE ABRIDGEMENT OF THE AUTOTYPE CATAEOGUE. Autotypes 0 F Pictures ix the Natioxal Gallery, Loxdox 4 I )o. Royal Gallery, Wixdsor 5 Do. Royal Gallery, PjUckixthiam Palace 6 Do. Hermitace Gallery, St. Peters- liURG .... 7 Do. Museo del Prado, Madrid 8 Autotype Copies OF THE ALaDOXXA DI SaX SiSTO 9 Do. OF THE SiSTIXE FrESCOES 9 Do. OF Classic Masterpieces . . .10, 1 1 Do. OF Sir Joshua Reyxolds’ Works 12 Do. OF Beautiful Womex 13 Do. OF the Works of Bartolozzi 14 Do. of the Liber Studiorum, Turxer 15 Auto-Gravures, AIeryox Etchixos (Fac-similes) . 16 l\EPR(ji)ucrioxs OF Works of AIoderx Artists . , 17 Mouxt Axi) Frame Departmext . . . . ,18 Autotype Book Illustratioxs ..... 19 Press Notices . , o THE AUTOTYPE COMPANY Invite all interested in Fine Art to inspect the very complete collection of Permanent Autotype REPRODUCTIONS OF ANCIENT & MODERN MASTERS, CONTAINED IN THEIR Fine Art Gallery, 74^ New Oxford Street, (twenty doors west of mudie’s) SPLENDID COPIES OF THE OLD MASTERS From the most celebrated Galleries of Europe, REPRODUCTIONS OF MODERN PAINTINGS, From the Luxembourg, “The Salon,” Royal Academy, &c. NATIONAL GALLERY, LONDON. Issue of Reproductions in Permanent Autotype of 349 Paintings. TURNER’S “LIBER STUDIORUM.” Reproduced in Fac-simile by the AUTOTYPE Process, and accompanied with Notices of each Plate, by the Rev. STOPFORD BROOKE, M. A. THE ART OF BARTOLOZZI. One hundred examples. SIR JOSHUA REYNOLDS. Two hundred and thirty-four examples of this Master, from rare prints in the British Museum. TEN ETCHINGS of OLD PARIS, by C. MERYON, Reproduced by the Auto-Gravure Process. NEW PUBLICATIONS. ADMISSION TO THE GALLERY, ENTIRELY FREE. Visitors not solicited to purchase. Jfine avt Catologuc, 186 p.p. ipost ffree, 60 . THE AUTOTYPE COMPANY, LONDON. 4 NATIONAL GALLERY OF LONDON. 284 AUTOTYPES OF THE FOREIGN SCHOOLS. 65 Do. OF THE BRITISH SCHOOL. Subscription Price for the Foreign Schools, 15s. od. ,, British School, ^£^2 los. od. Single Copies, large size, 12 j-; small size, 6/-. Amongst the most celebrated of the Pictui'es reproduced^ will be found the following: A Triptych Perugino, Holy Family Mantegna. The Doge Loredano... Bellini. Angels weeping over the dead | body of Christ ... j Francia. Bacchus and Ariadne Titian. St. Catharine of Alexandria ... Raphael. Holy Family Murillo. Virgin and Child Boticelli. The Cornfield Constable. The Valley Farm Angel’s Heads Constable. Reynolds. Age of Innocence ... Reynolds. The Fighting Temeraire Turner. For fir t her particulars, see the Autotype Companfs General Catalogue, page 81. (Post Free, 6 d). Tk Autotype Fine Art Gallery, 74, New Oxford St., London, W.C, 5 THE ROYAL GALLERY, WINDSOR CASTLE. (By Special Permission of H.M. the Queen). 83 EXAMPLES. This Publication is particularly rich in the examples of Master- pieces by Van Dyck, Rubens, Holbein, Rembratidt. Subscription Price for the complete series, including Portfolios, Thirty-nine Pounds. Separate Copies at 12/- and 6/- each. The following are of special intetxst : Madonna del Silenzio ... ... Cai'acci. His Own Portrait ... ... Rubens. L'amily of Sir Balthazar Gerbier ... Rubens. Three Children of Charles I., ... Vati Dyck. Killigrew and Carew ... ... Vati Dyck. Portrait of Charles I., (Bust, 3 positions) Van Dyck. Portrait of his Wife ... ... Rembrandt. The Misers ... ... Quetitin Matsys. Portrait of Henry VIII., ... Holbehi. Duke of Norfolk ... ... Holbein. Mary Queen of Scots ... .... Clouet. Princess Charlotte of Wales ... Lawrence. Portrait of the ^Artist, and of Andrea ) Franchesini ... ... ( Titiati. For Complete List, see the Autotype Companfs General Catalogue, page loi. ( Post Ft'ee, 6 d ). The Autotype Fine Art Gallery, 74, New Oxford St,, London, W.C. 6 THE ROYAL GALLERY, BUCKINGHAM PALACE, (By Special permission of H.M. the Qneen). 78 EXAMPLES. This Collection is largely representative of the Dutch and Flemish Schools, affording excellent examples of Cuyp, Backhuysen, Wouvermatp Paul Potter, Rembrandt, Rubens, Teniers, Frans Hals. Subscription Price for the complete set of 78 examples, in Port- folio, complete, ^34 15s. od. Separate Copies at 12/- and 6/- each. The follou'ing are amongst the most noticeable : Portrait of Himself Burgomaster Pancras and his wife Equestrian Portrait of Charles I., Young Bull The “Cornemuse” Hunting Party Seascape, (A Fresh Breeze) Portrait of a Gentleman The Abduction of Europa Rembi'andt. Rembrandt. Van Dyck. Paul Potter. David Teniers. Cuyp. Backhuysen. Frans Hals. Claude Lorraine. For the Complete List of Subjects, see the Autotype Company' s General Catalogue, page loy. (Post Free, 6 d). The Autotype Fine Art Gallery, 74, New Oxford St., London, W.C. 7 Imperial Picture Gallery at St. Petersburg. THE HERMITAGE. Issue of 432 Permanent Autotypes from the most celebrated paintings in the above gallery. These Reproductions comprise 381 large autotypes, size about 19-in. by 1 6-in., and 51 smaller, about 1 2-111 by loin. The whole are uniformly mounted on imperial boards 28in. by 21 Jin. The Subscription Price for the whole of this magnificient work is £20^ 5s. Single Copies are sold at 12/- and 6/- each respectively. The Hermitage Collection is eminently rich in Masters of the Flemish and Dutch Schools, the issue containing examples by Rubens^ Van Dyck, Teniers, Rembrandt, Gerard Dow, Paul Potter, Mieris, Rnysdael, Wo aver mans &^c. The Italian School is represented by Da Vinci, Raffaelle, Diiini, Titian, Guido, Tintoretto, 6rc. llie follou'ifig zvill be found of great interest to lovers of art Madonna de la Maison d’Albe Raphael. Peasant Boy Murillo. Peasant Girl, (pendant to the above) Murillo. Edward VI. Holbein. Toilet of Venus Titien. St. Magdalen Domenichino. Magdalen ... Carlo Dolci. Virgin with the Bird Sassoferato. Franciscan Monk Rubens. Archbishop I.aud Van Dyck. Sir Thomas Gresham Van Dyck. Rembrandt’s Mother Rembrandt. Man with a Fur Bonnet... Rembrandt. Further pa7iiculars rvill be found m Autotype Companys General Catalogue, page y8. ( Post F'ee, 6d ). The Autotype Company, 74, New Oxford Street, London, W.C, 8 MUSEO DEL PRADO, MADRID. Autotype Reproductions of the most celebrated paintings in the above Gallery. The whole work contains: 270 Autotypes 20 by i6in., 127 Autotypes 12 by pMn. The Price to Subscribers for the entire issue is ^160 8s. Separate Copies at 12/- and 6/- each. The folloiving; may he rioted as especially deserving attention : Holy Family ‘’La Perla” St. John The Glorification of the Holy Trinity His own Portrait at the age of 26 ... St. Francis d’Assise Noli me Tangere The Sacrifice of Abraham Equestrian Portrait, Prince Don ( Balthasar Carlos ... j Portrait of Dw^arf of Philip IV., I Don Antonio ... j The Immaculate Conception The Annunciation Christ on the Cross Raphael. Alonzo Cano. Titian. Durer. Van Dyck. Corregio. Donienichino. Velasquez. Velasquez. Murillo. Fra Angelico. Murillo. For the complete list of Autotypes made from this superb collection see the Autotype Companf s General Catalogue, page 4.1. (Price, 6d). The Autotype Fine Art Gallery, 74, New Oxford St,, London, W.C, 9 Grand Autotype Reproductions. MADONNA DI SAN SISTO. This Painting, which for sublimity of invention, is esteemed the most beautiful of Raphael’s works, was painted for the Convent of St. Sixtus, at Piacenza, between the years 1517 — 20, and belongs to the later or third style of the master. This Madonna, in execution, as well as design, is probably the most perfectly conceived picture in existence ; and the entire work is un- doubtedly by the hand of Raphael. -Entire Picture 18I by i3i inches 12/- Mother and Child only i8| by i4|- V) 12/- Entire Picture 30 by 24 •)1 50/- Mother and Child only 30 by 24 50/- ■Entire Picture 49 ijy 36 168/- Mother and Child only 42 by 34 ^, I6I/- Special Frames, 29 by 25, gilded reeded oak with plain oak Hat, for No. I, 25/- each; for No. 2, at 70/- each. The large No. 3 Autotypes are mounted on linen, and can be framed to suit Schools, Lecture Halls, or the Drawing Room. The Frescoes in the Sistine Chapel, BY MICHAEL ANGELO. These Masterpieces of Ancient Art have been reproduced in Autotype, and comprise one hundred and twenty-one subjects. Price of the Complete Set, ;£*56. Any of the subjects can be had singly at 10/6 each Descriptive Book of the Frescoes, by C. Bruce Allen, Sixpence. For further particulars and list of Sidfects, consult the Autotype Fine Art Catalogue, page 20. (Post Free for six stamps). Tie Autotype Company, 74, New Oxford Street, London, W.C, 10 REPRODUCTIONS OP CLASSIC MASTERPIECES For many years Messrs. Braun & Co., of Dormach, have devoted them- selves to the task of reproducing the Classic Works of the Great Masters enshrined in the principal Art Galleries of Europe, and it would be only necessary to name a few of them to give an idea of the value and importance of the work. Messrs. Braun & Co., have of late taken advantage of the newly dis- covered properties of certain chemical salts which renders colours in truer relation to their optical effect, and have immensely improved their Photo- graphic rendering of well-known masterpieces. At the commencement of the Autotype Company’s General Catalogue will be found an alpabetical list, which includes the names of nearly all the great Masters, with particulars of their work, and in what collection they are to be found. Autotypes of the whole of these may be had at prices varying from i /6 to 12/- each, according to size. GREAT GALLERIES OF THE LOUVRE AT PARIS. FROM THE PRINCIPAL Galleries and Museums of Europe, Printed by the Autotype Permanent Process The following are noteworthy subjects from the Coronation of the Virgin Holy Family Death of Cleopatra Mme. Lebrum and her Daughter The Meadow Descent from the Cross... Holy Family Madame Recamier The Broken Pitcher Immaculate Conception. . . La Joconde Mme. Vigee Lebrun. Fra Angelico. Da Vinci. Potter. Rubens. Titien. David. Greuze. Murillo. Bellini. Gigoux. SCULPTURE. Cupid and Psyche Ariadne Venus di Milo C a nova. Canova. Reproductions of Classic Masters. — Continued . THE LUXEMBOURG, PARIS. 77iis Splendid Collection has yielded some most ad nii ruble Facsimilies amongst which may be noticed. The Death of Virginia ... Bertrand. Stragglers Cliemi. Romans of the Decadence Couture. The Plague at Rome Delaunay. Figure Study Flandrin. Joan of Arc fngres. Luther’s Choir, Alsace ... Mar dial. Statute Fair Afar dial. Calling the Last Victims Reign of Terror... j Muller. Excavating Pompeii Sain. The Death of Gericault Scheffer. The Return from the Farm Troyan. THE UFFIZJ gal: .ERY, FLORENCE. Many Autotypes of Paintings from this Celebrated Gallery, amongst which will be found. The Holy Family Andrea del Sarto. The Virgin Guido Reni. Coronation of the Virgin Fra Angelico. Virgin and Child Botticelli. Vierge au Chardonneret. . . Raphael. Venus Titian. Several Exquisite Facsimilies of Drawings by the Great Masters from this Gallery. THE VATICAN, ROME. The Celebrated Frescoes by Michael Ange/o. Examples from the ALBERTINA GALLERY, VIENNA. Milan., Lflle., Basle., &-'c. Catalogue and all information by applying to The Autotype Company, Fine Aid Gatlery, 74, NEW OXFORD STREET, LONDON, W.C. 12 Print Room, British Museum, A Selection of the Works ot SIR JOSHUA REYNOLDS, P.R.A. SCRIPTURA.L, HISTORICAL, & FANCY SUBJECTS. Prices — Mounted on cream boards, average size, about loin. by Sin. 2/6. Unmounted Scraps, about 5in. by 4in, i/- (A few of the most important subjects are published in a large size, about i/in. by izin. mounted, 12/6). The complete collection includes nearly joo examples^ amongst the most popular of which may be cited the following : 8 Angel’s Heads. Portraits of the Daughter of Lord William Gordon. From an engraving by Peter Simon, 1789. 32A Miss Emma Hart, afterwards Lady Hamilton, as a Bacc- hante. From an engaving by Samuel William Reynolds. 42 The Age of Innocence. From an engraving by Chas. Turner. 47 Felina. From an engraving by Joseph Collyer, 1790. 52 Mary Catherine Pelham Clinton feeding chickens. From an engraving by John Raphael Smith. 70 Mrs. Payne Galway and her child; entitled the Gipsy, or Picaback. From an engraving by John Raphael Smith. 73 Simplicity. From an engraving by Francesco Bartolozzi,i 789 T20 Mrs. Pelham feeding chickens. PTom an engraving by William Dickinson, 1775. 122 Miss Emily Pott 'as Thais. From an engraving by Francesco Bartolozzi, 1792. 127 Mrs. Sheridan as St. Cecilia. From an engraving by William Dickinson. 134 Mrs. Abington as Roxalana. From an engraving by John Keyse Sherwm, 1791. 144 The Honourable Miss Ann Bingham. From an engraving by Francesco Bartolozzi, 1786. 146 Miss Penelope Boothby, From an engraving by Thomas Park, 1789. 16 1 Georgina, Duchess of Devonshire, and the Hon. Lady Georgina Cavendish, engraved by Keating, 1787. 229 The Ladies Waldegrave. From an engraving by Valentine Green, 1781 For further particulars and complete list, see the Autotype Companfs Fine A7't Catalogue. ( Post Free for six stamps ). The Autotype Company, 74, New Oxford Street, London, W.C. 13 AUTOTYPE EXAMPLES OF REPRESENTATIONS OF BE^TJTIIFTJL ‘W0I^E:N‘ AS EXEMPLIFIED IN BRITISH PORTRAITURE, Selected by G. W. Reed, Esq., from Choice Engravings in the British Museum. Large Size, Moiinted on French Grey Boards, 2\6 each. Unmounted, 2\- Smaller Size Scraps, i\- each. There are 89 Examples in this series, all carefully chosen l)y the late keeper of the British Museum Print Room, as being representative work of Artist and Engraver, the following Subjects are specially worthy of notice : 16 Mrs. Mills, painted by Engleheart, engraved by J. R. Smith 3 [ Lady Langham, painted by Hoppner, engraved by C. Wilkin 33 Charlotte, Viscountess St. Asaph, painted by Hoppner, en- graved by C. Wilkin 38 The Squire’s Door, painted by G. Morland, engraved by J. Durellan. 47 Elizabeth, Countess Grosvenor, painted by Sir T. Lawrence, P.R.A., engraved by S. Cousins 55 Miss Earren, painted by Sir T. Lawrence, P.R.A., engraved by Bartolozzi 66 Lady Hamilton, painted by Romney, engraved by J. R. Smith 68 Mrs. Jordan as the Country Girl, painted by Romney, en- graved by J. R. Smith. 74 Mrs. Lorraine Smith, painted by Singleton, engraved by W. Bond. TWELVE AUTOTYPE PROOFS ON INDIA, Of the Choicest Subjects published in a handsomely-bound Volume, Price, £\ iis. 6d. For complete list of Subjects, see the Autotype Fine Art Catalogue, Post Free for six stamps. The Autotype Company, 74, New Oxford Street, London, W.C, 14 COMPLETE IN FOUR VOLUMES. PRICE— THREE GUINEAS EACH. ONE HUNDRED EXAMPLES OF ENGRAVINGS BY FRANSCESCO BARTOLOZZI, R.A. Selected from Rare Examples in the Depai tmeni of Prints and Di-aiaings, British JInsenm. The Illustrations comprise subjects after Guercino, Guido Reni, Corregio, cK:c., and are rich in transcripts of the work of Sir J. Reynolds, G. B. Cipriani, Angelica Kauffman, B. West, W. Hamilton, and other eminent painters con- temporary with Bartolozzi. Each part contains twenty-five subjects reproduced by the Autotype Process, and accompanied with descriptive and biographical annotations. Part I. contains an Extra Plate, the Portrait of Bartolozzi, after Sir Joshua Reynolds, r.R.A., from the Engraving by R. S. Marcuard ; also a brief Memoir of Bartolozzi, by Louis Eagan, Esq., of the Department of Prints and Drawings, British Museum. This collection includes all the finest work of Bartolozzi, amongst examples of which may be noted. 4 T^ady Smith and Children, by Sir Joshua Reynolds. 6 Cupids Manufactory, by Alban i. 7 Charity, by Cipriani. 15 Infant Bacchanals, by Lady Beauclerc. 16 Amorini, by Lady Beauclerc. 22 Hope, by Bartolozzi, del. et sculp. 26 The Triumph of Beauty, by Cipriani. 28, 29, 30, 31 The Seasons, by Wheatly and Westall. 43 Countess of Harrington, by Sir Joshua Reynolds. 61 Lady Edizabeth Foster, by Sir Joshua Reynolds. 75 Death of Chatham, by Copley. 78 Venus chiding Cupid, Sir Joshua Reynolds. 91 Silence, by Bartolozzi, del. et sculp. Separate Copies of the entire series can be purchased mounted^ from “/■ each, according to size. The Autotype CompuDy, 74, New Oxford Street, London, W.C. 15 THE “LIBER STUDIORUM' OF J. M. W. TURNER, R.A., Reproduced in Fac-Simile by Sawyer’s Collotype Process, AND Accompanied with Notices of Each Plate, BY THE REV. STOPFORD BROOKE, M.A., IN THREE VOLUMES, CONTAINING IH.LXJSTK^TIOlNrS, NETT PRICE-FOUR GUINEAS PER VOLUME. The Plates are sold separately with the Commentary appertaining, at Three Shillings and Sixpence each. IRotes on tbc Xibev Stubiovuin OF J. IfL. W. TXJRISrER.3 BY THE RF.V. STOPFORD BROOKE, M.A., PitbUshed in Oite Vohuue, with an Etching by Frank Short, and Five Photo- Fngravmgs by the Autotype Company, NETT PRICE-NINE SHILLINGS. The Autotype Fine Art Gallery, 74, New Oxford St,, London, W.C. 1 6 OLID TEN ETCHINGS BY C. MERYON, Reproduced on Copper by the Anto-G7'av2ire Process, and accompanied with PREFACE AND ILLUSTRATIVE NOTES, BY STOPFORD A. BROOKE, M.A. The Plates are attached, by the upper edge, to Whatman Paper cut-out Mounts, and enclosed in an elegant Portfolio. PRICE— THREE GUINEAS. LIST OL TPTE LL^TES. 1. LE STRYGE. 2 . LA MORGUE. 3. L’ABSIDE DE NOTRE DAME DE PARIS. 4. LA GALERIE DE NOTRE DAME. 5. LE PONT AU CHANGE. 6. LE PONT AU CHANGE— SECOND STATE. 7. RUE DES CHANTRES. 8. ST. ETIENNE DU MONT. 9. LE PETIT PONT. 10. TOURELLE, RUE DE LA TIXERANDERIE. PUBLISHED BY THE AUTOTYPE COMPANY, LONDON, FINE ART GALLERY, 74, NEW OXFORD ST., W.C. 17 Reproductions of Works of Modern Art After Sir F. Leighton, P.R.A., E. J. Poynter, R.A., Watts, R.A., Burne Jones, Rossetti, Ford Madox Brown, Frederic Shields, De Neuville, Meissonier, Turner, R.A., Gainsborough, R.A., Corot Lehmann, Holman Hunt, Cave Thomas, G. Earl, Herbert Schmalz, Elmore, &c', &c. Autotypes of Two New and Beautifd Drawmgs By FREDERIC SHIELDS. “THE GOOD SHEPHERD,” “CHRIST AND PETER.” Copies of these exquisite Drawings, One Guinea each. A large size for Schools and Churches, Four Guineas each. Special frames for the above. Autotype Copies of Important Works By HOLMAN HUNT. Including — The Assyrian Wife unveiled Two Gentlemen of Verona The Awakened Conscience Rienzi Early Christian Missionaries fleeing from persecution ... ... j A Tuscan Girl 2l/- 7/6 7/6 7/6 7/6 5/- Angiola and Dianeme. Reproductions of two charming Drawings by Henry Ryland. In double oak frames, 25/- each ; in black and gold frames, 28/- each. Autotypes of Red Chalk Drawings. A capital selection after Alfred Ward, Ryland, Julia Folkard, and others. Catalogues^ 166 pages, Sixpence, post free. “Autotype in Relation to Household Art.” With Three Illus- trations, 21 pages, free to any address. The Autotype Company, 74, New Oxford St., W.C. i8 MOUNT AND FRAME DEPARTMENT. The Autotype Company give great attention to this department ; the pleasure derived from the contemplation of a work of art being much enhanced by its suitable setting. The purely classical stock, consisting of copies of the drawings, paintings, and sculptures of the Old Masters are seen to advantage under mounts of delicate grey, or cream tone, framed in oak with a gold flat, or in black and gold. Also for these subjects a frame of unpolished oak, reeded or plain, with an oak flat coming close to the print in the place of a paper mount, is very suitable : the outer oak can be stained brown or black, or be gilded, to aid any particular s'd^ject requiring something more forcible than the light wood. Special mounts and frames have been designed to set forth to advantage copies of the works of Modern Masters. Examples from the great series of the works of Reynolds, Bartolozzi, &c., reproduced from selected engravings in the print-room of the British Museum, are best seen set close in the old fashioned Tdogarth frame — black, with double gold beading. Such of these Autotype fac-similes as are in red chalk, make beautiful little pictures framed in white and gold. Specially turned circular and oval frames of the Hogarth pattern are supplied either in black, or green, or white, with gold. Reproductions of drawings of the Old Masters, or selected examples of the works of Reynolds, Romney, Laurence, Bartolozzi, &c., in numbers of four to twelve, arranged to harmonise, placed in cut mounts, and framed together, yield highly decorative effects for drawing room or boudoir. Examples of every class of subject, tastefully framed, may be seen at the Gallery. Lovers of art, and all interested in the decoration of the home, will be interested l)y a visit to the AUTOTYPE COMPANY’S FINE ART GALLERY, 74, NEW OXFORD STREET, W,C, ( A few doors west of Aludie's Library). Admission Free. Visitors not solicited to purchase. 9 AUTOTYPE BOOK ILLUSTRATIONS. (SAWYER’S COLLOTYPE). Are printed direct on the paper with suitable margins. This pro- cess is noted for its perfect rendering of the most subtle gradations of a photographic negative, and is largely employed for the reproduction of artistic and scientific subjects. The folloiving important works have been illustrated by this process: For the Trustees of the British Museum. The Museum Catalogtces of — The Roman Medallions The Greek Coins The Persian Coins The Oriental Coins The English Coins Coins of the Sultans of Delhi The Codex Alexandrinus, pp. 1550 Fac-similies of Ancient Manuscripts Copies of Forty-five Papyri The Miiseum Guides to — The Italian Medals The English Medals The Indian Coins The Coins of the Ancients The Provincial Coins of India Fac-similes of German Engravings Reproductions of Early Italian Drawings Fac-similies of of Magna Charta For Societies, Authors, and Publishers. The Utrecht Psalter, pp. 207 The Laurentian Sophocles Fac-similes of Manuscripts for the Palteographical Society (Comprising about 360 original documents co^■ering a period of more than 2000 years, from B.C. 600 to A.D. 1500). Types of Greek Coins, by Prof. Gardner Ornamental Arts of Japan by Messrs. Audsley and Bowes Thomson’s China and the Chinese Lockyer’s Spectral Analysis King s — A Civilian’s Wife in India Madras and Burmese Art Ware Wyon’s Great Seals of England Cook on Billiards Holtzapffel’s Practice of Orna- mental Turning Burgess’ Archteological Survey of India Tuer’s Bygone Beauties Famous Monuments of Central India by Sir Lepel Griffin, K.C.S.I. 1 Walker’s Cabinet of Old Fans [ Gray’s Elegy — Norman Prescott Davies Medical Opthalmoscopy — W. R. Gowers, M.D. I Tahiti — Lady Brassey and Colonel Wort ley Songs of the North Photographed Spectra (136) — J. Rand Capron, F.R.A.S. British Mezzotinto Portraits—}. Challoner Smith Photographs of Bacteria (86 illustra- tions) E. M. Crookshank, M.B. The Art of Bartolozzi ( 100 examples) The Liber Studiorum of Turner, &c., t'^^c., &c. P/?ESS NOTICES. “Ill these days of general art cultivation, when so much is being done, and on the whole with so much success, to spread abroad a love for the beautiful among all classes, the combination of scientific manipulation and commercial enterprise displayed by the Autotype Company deserves hearty recognition as a most important aid in the good work,” “The distinguishing character of the Autotype reproductions is that they are cheap and absolutely faithful copies of originals, which may themselves be of the very highest excellence ; and they are, therefore, especially adapted for all situations in which the moderation of their cost is an important element, and especially for all in which it is desirable, for educational reasons, to keep before the eyes, either of children or of adults, the most perfect representa- tions of natural or of ideal beauty.” — Times, September 4th, 1879. “It is impossible, as far as the writer can judge, to exaggerate the perfec- tion of the Autotype reproduction of the drawings of the Great Old Masters.” — Mr. Tom Taylor, M.A., 1871. “It is only when we have examined the magnificent series of fac-similes, in- cluding all that is most precious in the priceless public collections of drawings at Florence, Venice, Milan, Vienna, Bale, Paris, that we can appreciate the vast importance of the Autotype process to the future of fine art education, and the boons it has already bestowed on the lovers of such art, in a branch of it hitherto practically out of the reach of all but millionaires.”— 77 /d’ Port- folio, April, 1871. “It needs only a visit to the Company’s Gallery to perceive at a glance that Autotype has a special character and distinct expression. To persons ac- quainted only with silver prints, the Art productions of the Company woidd scarcely be supposed to be photographs at all. In some cases, notably in copies of charcoal or sepia drawings, one sees exact fac-similes of the originals .” — The Art Join nal, March, 1878. P' *= ''V'- -. -V V' ; GEHY CENTER LIBRARY 3 3125 00112 5083