: :. 7 s - ' ^\s ■> B— PIl , ■:• :-■; i^4v iipiiti Ks&iS&Ms r’SiSSffiUK^ JL&Jti*UJUd K. ACKE11MANN, :en) jju-U mw , - SmX132ftS&$ MANUFACTURER OF SUPERFINE WATER COLOURS TO HER MAJESTY & THE ROYAL FAMILY Has the gratification to announce *k a l^^kermaMjs^Colour-Bo^^am^foloims wm^di^tmguished and selected by the Executive Ultramarine . 1 Ultramarine Ash . 0 Imperial Permanent lilue, equal to Ultramarine in Tint. 0 Bumont’s Blue .. 0 Smalt . 0 Guimet’s Ultramarine .. 0 Carmine . 0 Burnt Carmine. 0 Dahlia Carmine. 0 Permanent Crimson .... 0 Extra Madder Lake .... 0 Purple Madder . 0 Scarlet. Orange Vermilion i Cadmium Yellow ! Plalina Yellow Gallstone. Lemon Yellow Intense Brown Pink Madder .. Rose Madder .. Intense Blue . Drench Blue .. Ditto Pale .... ' Ultramarine, in SOLD IN CAKES AT THE FOLLOWING PRICES. saucers, 6 s. and £ Artificial Ultramarine . ! Burnt Lac Lake.. Victoria Blue.. Cobalt. I Lake, Crimson Lake, Scarlet.. Lake, Purple .. I Royal Purple . 0 Brown Madder Indian Y'ellow.. lndiau Black .. Sepia . Permanent White , 1 6 Chinese White . 1 Prout’s Black. 1 W'arm Sepia . 1 Chinese Ink .. lj. 6if. & 2 Prepared Black for In- „ lfl y' n g. i Permanent White Liquid, in bottles... .lj. Oil. & 2 Chinese White, do. Is. & 2 Flake White, do. 1 Prout's Brown, do. 1 Liquid Cement, do. lj. & 2 Permanent White, in pots 1 : Scarlet, in saucers. 1 Fine Chinese Gold, in shells -... 9d. & 1 I Silver, in shells. 0 j Gold Size, in pots. 1 Gold, Silver, and Copper Bronze, in packets lrom Is. to 5 Carmine, in powder .... l | Fine Chinese Gold, in 1 saucers. from 1 Ackermann’s Yellow Ackermann’s Green Antwerp Blue Azure Blue Bistre Blue Black Blue Verditer British Ink Brown Ochre Brown Pink Bronze Burnt Italian Earth Burnt Roman Ochre Burnt Sienna Burnt Umber Chrome Yellow, Nos. 1, 2,and 3 Cologne Earth Deep Prussian Blue Dragon’s Blood Dutch Pink Egyptian Brown Emerald Green, 1 and 2 French Green Full Red ALL AT ONE SHILLING Gamboge Green Bice Green Verditer Ilooker’s Green, 1 Indian Red Indigo Italian Earth Italian Pink Ivory Black- King’s Yellow Lac Lake Lamp Black Light Red All these Colours may he had in Half-Cakes at Half-Price. PER CAKE. Mineral Blue Naples Yellow Neutral Tint Olive Green Orange Chrome Payne’s Neutral Tint Payne’s Grey Prussian Blue Prussian Green Purple Red Ochre Red Orpiment Raw Sienna Raw Umber Roman Ochra Sap Green Saturnine Red Swedish Ochre Transparent Yellow Ochre Varley’s Grey .... Warm Grey .... Purple Grey .... Dark Green .... Warm Green Varley’s Orange .... Neutral Tint Vandyke Broun F Venetian Red Chinese Vermilion, .... Crimson .... Ackermann’s White Y'ellow Lake Yellow Ochre Yellow Orpiment York Brown REPOSITORY OP ARTS, 191, REGENT STREET. W. IS^-g.2 -O ■i*l« 1 ^ HEADS, EMINENT ARTISTS, on DRAWN FROM NATURE. BY MONSIEUR JULIEN, PROEESSOR OF DRAWING IN THE MILITARY SCHOOL, PARIS. LITHOGBAPHED BY THOMAS FALRLAND. LONDON: AY. IAENT & Co. (Late II Bogue), 86, FLEET STBEET. INSTRUCTIONS TO ACCOMPANY JULIEN’S PROGRESSIVE STUDIES OF HEADS. |T is universally admitted tliat in tlie art of Drawing more is acquired by practice than by theory, and that practice combined with observation and reflection is the only means by which knowledge can be obtained. It is, however, obviously of the utmost importance that the learner should commence and proceed on distinct principles; and that the examples which he proposes to imitate should possess those qualities which w r ill suitably facilitate his progress, strengthen his judgment, and form his hand to a proper style. The system endeavoured to be illustrated in the accompanying Plates, by a progressive course of figures, is that essential method of decidedly determining the relative bearings of all the most conspicuous points in a geometrical manner, before proceeding with details, as is indicated in the early examples by dotted lines ; nothing is arranged or recommended in the copying of the present subjects, but upon principles which can be equally and truly applied to the delineation of the real objects, and therefore the learner may rely with certainty on the foundation these will become for subsequent practice. In the Human Pace and Pigure, correctness of form is unquestionably the principal point to he aimed at; to accomplish this the learner, in his first exercises, should become well acquainted with all the parts of a Pace before he attempts the entire head; and, in studying each and every part, to make himself well acquainted with its proportions and appearances—in its height, length, and, every other dimension. In order to succeed in this, he cannot too often contemplate his original; he should therefore place it directly before him, examine it carefully and deliberately, observe the position and proportion of all the leading points, both with regard to themselves and to each other. It will be highly beneficial to the beginner, and render the use of the pencil easy, and enable him to acquire a full command of hand, to draw his faces the size of life at his commencement; for having attained the power of drawing their forms in distinct dimensions, he will find smaller ones much easier ; whereas, commenciijg with smaller, will not so well qualify him to delineate those of the natural size, and especially as the fulness of the scale requires more study, and gives better opportunities for the thorough understanding of the details and the modelling of the respective forms. The learner should commence with the imitation of the features singly, in many different views and positions; and after becoming able to draw the parts separately with accuracy, then to undertake the entire face, beginning with a profile. Having mastered this, the full face may then occupy his attention; and in this a few mechanical rules will assist him: as, for instance, in attempting the entire face he may first describe an oval, somewhat narrower towards the bottom than at the top, when he is at liberty to draw, or suppose to be drawn, a perpendicular line down the middle, which serves as a guide for the situation of the nose and mouth ; this line is to be crossed by others, on which are placed the nostrils, mouth, and chin. In every variety of position the existence or supposition of these lines is of great service to the learner, as they enable him to place the features much more accurately than could be done without an adherence to them; always remembering that in every case the lines on -which the eyes, nostrils, mouth, and chin are placed, must perfectly correspond with each other, and be always at right angles -with the perpendicular line supposed to be drawn through their centre: the continuance of this method will more readily produce accuracy, and undoubtedly render the practice more easy and agreeable to the beginner. To ensure further success, the student must habitually accustom himself to patience and diligence; first essays are almost always rude and incorrect, and therefore he should not form any estimate of his own ability from his early attempts ; a little judicious practice will remove many difficulties, and he who proceeds deliberately, and makes correctness and truth of imitation his principal aim, will not fail to acquire a superior knowledge of the Human Pace, and gain the habit and power of delineating it with certainty, and from which he can with confidence proceed to the study of the Human Pigure, as progressively represented in that part of the present work which is devoted to its illustration.* _THOMAS FAIR LAND. similar Yolume devoted entirely to “ The Human Figure,” Lithographed by Mr. Fairland from Drawings by Mons. Julien, designed as a Companion to this Work, may also be bad. . PL ? Published byD Itogue 86 .Fleet 5-reet Printed, ly M&.N Pantart ___ Tbo® Fairlanii ltibni' _Rnhlishf;c[ liyD Pogue 86Ileet Street Printed by'M ' P H: k \\ v - \ { \V / — \i K K Ial i r j \ ! 1 1 Printer! by M O Panhart Published by D Bogus 86 Pleet Street Thu? lairlantl lithoi5 7 ho* Tairlend luho>. Published, by D Bomie 86, Fleet Street Printed. B V--1I Kapha ■****%**■> Published tv D Bcpue 6 r :'. 71- Printed, by M 6c N Haute". Printed By M & N Hantia; Published. by D BojSue 56 Tho? Pairbnd. lithofi Printed by M&N.Hanhart 86,Fleet Street. ■ _ • , ' at® Printed by M k N Ha: 'ho s Fairland lithoj t •■■£** v* . \ : F i, I'Hf ‘ ' 1 Printed "by M&N Hanhar Thif Faii'laiidlittiort iMied Jay D Dogne ft6 Fleet Street } ) Printed Try 1 r "■ j-tssrM ■ S& c - I Tho 5 Fail-land lifhoj. Published bvP Bo£ue 86.Fleet Street '; rpjMBfiTj?>77 Published by D Boone fl6 Fleet Street Printed, by M ic P Hanharl Printed By M &H PianTi: Published ~by I Bogus 06 Tleet Street Tho“ Tarland litbog ___ Printed. Tjv ii?.' ; ubiis'np(I jp’ r na 1 ; Pnntec Published, dv D P: THirtal lilhofi Published t’/i 3o$as.86-?tet Street. . ' PL. 20 by MN Hi 'PnLlishfid "bfD IBogue 06 Uecf Street PL.22. rho = Fairlmd littoo Published by D Bogus 86 fleet Street ' Prated, by M&N lb .h I I PL 2 4- p ; S — g 0r sot»uip»i! R. ACKER MANN’S ©mmey IF©® msm mah ®if widieio 19 1, REGENT STREET. W. ®IF AML TERMS OF SUBSCRIPTION. FIRST-CLASS DRAWINGS.—10 Guineas a-Year; 6 Guineas Half-Year; 3 Guineas Quarter. ,, „ 8 Guineas a-Year; 5 Guineas Half-Year; 2 Guineas Quarter. .» 11 5s. a-Week for Drawings under 5 Guineas, and five per cent on any Drawing exceeding the above amotm SECOND-CLASS DRAWINGS.—4 Guineas a-Year; 2 Guineas Half-Year; 1 Guinea Quarter. ,, ,, 2s. 6d. a-Week, taking at a time One or Two Drawings to the value of Two Guineas. Separate Drawings by the Week, according to the value of the Drawing. The Drawings to be Excltanged as often as required. All Subscriptions to be paid in Advance. Subscribers by the Week to leave a Deposit, the value of the Drawing. Drawings Damaged to be paid for. Carriage Expenses to be paid by the Subscriber. R. Acltermann’s Moist Colours in Saucers and Tubes for Out-Door Sketching Arc more particularly recommended for their brilliancy and ready mixture, and superior to all others of this kind, a3 they do not rub up when washed over by other Colours, which has been a great complaint by most Artists of those hitherto introduced. Sold separate or in Tin Japan Boxes, of different Prices, with Cups and Bottles. R. Ackermann’s Prepared Genuine Cumberland Black-Lead PENCILS, OF DIFFERENT DEGREES OF HArqNESS AND DEPTH OF SHADE. H A degree harder than the Genuine Cumberland Lead, and used gene¬ rally by Artists for Outlines. Tin Two degrees harder, and used by Architects. IHH Three degrees harder, and used by Architects, Engineers, Surveyors, &c. fee. F Fine Pencils for Drawing, used by Artists, Drawing-Masters, and Pupils. EBB Extra Black and double thick in lead, for very bold Drawing FF Fine Pencils for Drawing, used by Artists, Drawing-Mast er, &c. (double thick in lead.) B Black for Shading, used by the same. BB A deeper black for Shading than B. HB Hard and black for Shading. EHB Extra hard and black, and thick in lead. The various Letters .. except EHB and FF.0 0 6 BBB .i BBBB.i BBBBB.2 E. ACKKRMA.NN begs to impress upon Artists, and others using Lead Pencils, that he pays the utmost attention to the quality of the Laid, so that those requiring them may rely upon haring the very best article that can possibly be manufactured. REPOSITORY OF ARTS, 191,REGENT STREET. W. ijjggl