MUSEUM OF FINE ARTS. PRINT DEPARTMENT. EXHIBITION ILLUSTRATING THE TECHNICAL METHODS ol THE REPRODUCTIYE^ARTS^ FKOM THE XV. CENTURY TO THE PRESENT TIME, WITH SPECIAL REFERENCE TO The Ptioto-Mechanical Processes. JANUARY 8 TO MARCH 6, 1892. BOSTON: PRINTED FOR THE MUSEUM BY ALFRED MUDGE & SON, 24 Franklin Street. 1892. FRANKLIN INSTITUTE LIBRARY. 1. Class, No..^ 0^ Article V. — The Library shall be divided into two classes ; the first comprising such works as, from their rarity or value, should not be lent out, ail unbound periodicals, and such text books as ought to be found in a library of reference except when required by Committees of the Institute obtainec those bo Artic and to h CLASS, S Seetioi ^)ooks ov two mer more th; rower m latter sh Seetioi detentio turned "v shall, in Seetioi pay for i, direct ; i borrower Artic sion frop in charg* who ma; Artic annual • arrears Reading Artic II PRESENTED BY Jo. n 'lave ude Ders OXD two east out 3or- the the re- iwer hall nay the nais- rty ee, lose hall duty refuse or iitigieuL lu cumpiy witn me loregomg ruies, ii snail De tne of the Secretary to report him to the Committee on the Library. Article X. — Any Member or holder of second class stock, detected in mutilating the newspapers, pamphlets or books belonging to the Insti- tute shall be deprived of his right of membership, and the name t)f the offender shall be made public. MUSEUM OF FINE ARTS. PRINT DEPARTMENT. EXHIBITION ILLUSTRATING THE TECHNICAL METHODS OF THE REPRODUCTIVE ARTS FROM THE XV. CENTURY TO THE PRESENT TIME, WITH SPECIAL REFERENCE TO The Photo -Mechanical Processes. JANUARY 8 TO MARCH 6, 1892. BOSTON: PRINTED FOR THE MUSEUM BY ALFRED MUDGE & SON, 24 Franklin Street. 1892. INTRODUCTION. The present exhibition is principally intended to give an idea of the stage of development reached by the mar- vellous processes for producing printable blocks and plates, known under the collective name of The Photo- Mechanical Processes^ and to illustrate the means by which they attain their results, so far as that can be done within the limits imposed, and without divulging the many trade-secrets which still, either really or apparently, envelop many of them. As these modern processes, however, cannot be under- stood without some knowledge of those that preceded them, it has been thought advisable to add illustrations also of those of the older processes of which specimens were obtainable. The exhibition offers, therefore, a suc- cinct history of the means used to produce blocks and plates from which impressions can be made in a press or otherwise, from the 15th century, when these processes were first extensively practiced, down to our own time. Attentive study of the material submitted will show that the technical aim, steadily held in view, has been and is the substitution of the forces of nature for the activity of man. This aim is most clearly expressed in the announce- ment of the prize for a scientifically reliable reproductive process, offered by the Due de Luynes in 1856. "It is," says this announcement, "with a view to hastening the moment, so much desired, when the processes of printing or of lithography shall permit the reproduction of the marvels of photography, without the intervention of the human hand in the design, that M. le Due de Luynes . . . has established a prize." This aim has not, indeed, been reached absolutely as yet, but considerable progress towards it has been made, as this exhibition testifies. Concerning the possibility of final achievement, the wisest course will be to abstain from all speculation, and to hold iv INTRO D UCTION. ourselves ready to accept such answer as the future may bring. Nor would it be permissible here to enter upon a discussion as to the effect which these new processes may have upon the older ones. It may be said, however, that the two differ very decidedly in their intellectual aims, however closely they may agree in the technical. The old processes, in their highest development, are artistic and give free scope to the personal element. The modern photo-mechanical processes, in their highest development, are scientific, and seek to eliminate the personal element. The former, therefore, are — or at least maybe — them- selves a form of art, while the latter are its servants, whose merit is measured by the degree to which they find it possible to repress their own individuality. The exhibition is divided into five parts: — A. The older processes^ invented up to the beginning of the 19th century. B. Substitute processes^ which try to reach the results of the older processes at a less expenditure of manual labor, but as yet without photography. C. Pho- tographic processes^ which either depend entirely on the action of light upon certain substances for the making of the picture as well as for its reproduction, or which repro- duce and multiply an already existing picture by the same means. D. Photo-mechanical processes^ the aim of which it is to produce, either from nature or from works of art, by photographic action, plates, blocks, or moulds, to be used for the multiplying of pictures in the press, that is to say, by mechanical means. E. Drawing for photo- mechanical process-work. This division does not come strictly within the scope of the exhibition, as it represents a purely artistic activity preliminary to the process itself. As, however, this kind of drawing is almost wholly an out- come of the photo-mechanical processes, — although its first efforts were prompted by the substitute processes, — it has a well-defined right to a place here. The "half- tone processes have, indeed, done away with the neces- sity for much process drawing, but it is still largely prac- ticed, and some knowledge of the means employed may, therefore, be of use to young artists, many of whom find a first source of income in the making of drawings of this sort. INTR OD UC TION. V The technical notes under the different headings of the catalogue are necessarily of the most meagre kind. They will, however, be sufficient, in connection with the speci- mens shown, to give an idea of the principles involved, which is all that is aimed at. In examining the specimens, it must be borne in mind that the purpose of the exhibition is distinctly technical, and that the illustration of technical points had to be made the first coi sideration, although the beauty of the results reached has also been kept in view wherever it was possible. Finally, it may be well to state that the exhibition does not nearly exhaust the subject with which it deals. The number of processes invented within the last thirty years is almost innumerable. It is believed, however, that most of the successful processes — successful, that is to say, either temporarily or perma- nently — are represented. The Museum of Fme Arts is indebted to the U. S. National Museum and, through Prof. C. F. Chandler, to Columbia College, as well as to Miss Laura Norcross, and Miss M. J. Fenderson, of Boston, Mr. Jas. D. Smillie, of New York, Mr. F. E. Ives, of Philadelphia, Mr. T. W. Smillie, of Washington, and Messrs. H. R. Elaney, E. F. Fenollosa, Thomas Gaffield, Geo. A. Goddard, E. H. Greenleaf, Walter F. Lansil, Chas. G. Loring, J. B. Millet, Walter Rowlands, Pierre Thurwanger, :ind Chas. A. Walker, of Boston, for the loan of valuable specimens. A list of the business houses who have directly contributed to the exhibition is given on p. vi. The private collection of the undersigned has also been largely drawn upon. The undersigned will deliver t\^^o lectures on the photo- mechanical processes before the Society of Arts, at the Massachusetts Institute of Technology, on the evenings of January 14 and 28, at 8 o'clock. The admission to these lectures is free. S. R. KOEHLER. LIST OF BUSINESS HOUSES WHO HAVE CONTRIBUTED TO THIS EXHIBITION. The John Andrew & Son Co., Boston. The Art Publishing Co., Boston. E. BiERSTADT, New York. The Boston Engraving Co., Boston. BoussoD, Valadon & Co., Paris and New York. Crosscup & West, Philadelphia. Benjamin Day, New York. A. W. Elson & Co., Boston. The Gravure-Etching Co., Boston. F. Gutekunst, Philadelphia. The Heliotype Printing Co., Boston. W. Kurtz, New York. Little, Brown & Co., Boston. Augustus Marshall, Boston The Moss Engraving Co., New York. The New York Photogravure Co., New York. The NoTMAN Photographic Co., Boston. L. Prang & Co., Boston. Chas. J. Ross, Burlington, N. J. H. G. Smith, Boston. ARRANGEMENT OF THE EXHIBITION. FIRST PRINT ROOM. A. The Old Processes i I. Relief Processes 3 1. Wood-cutting (and relief -engraving on metal) . 3 2. Old white-line work ...... 4 3. Modern wood-engraving ..... 5 4. Modern plank-cutting 8 5. Relief -engraving applied to color-printing . . 8 6. Japanese wood-cutting 9 II. Intaglio Processes 10 1. Graver work (Line-engraving) .... 10 2. Dry-pointing II 3. Etching 13 4. Forwarding by etching 15 5. Etchings finished with graver and dry-point . . 15 6. Punching 16 7. Imitation of crayon-drawing . . . . . 16 8. Stippling 17 9. Soft-ground etching 18 10. The sand-manner . . . . . . . 18 11. Aquatinting 19 12. Mezzotinting. ....... 20 13. Lavis. — Tints of various kinds .... 21 14. The ruling-machine ...... 22 15. The mixed manner 23 16. The printing of intaglio plates .... 23 1 7. Steelf acing and electrotyping ..... 24 18. Intaglio engraving applied to color-printing . . 24 {a.) At one printing, from one plate . . 24 {d.) From several plates 25 (<:.) Intaglio and reUef combined ... 26 viii ARRANGEMENT OF THE EXHIBITION III. Planographic Processes 1. Crayon- drawing 2. Pen-and-ink and brush-work 3. Engraving 4. Etching 5. Rub-tints, lavis, stumping, etc, 6. Spattering 7. Autography . 8. Transferring . 9. Presses and printing 10. The Planographic processes applied to color-printing, B. Substitute Processes I 2, 3 4. 5 6, 7 8, 9 10. II 12 Relief-etching, A . Relief-etching, B . Wax Processes Clay Surface Processes Graph otype . Galvanography Blocks of Soft Mass Stenochromy . Machine-engraving Nature-printing Gelatine Processes Closson's Process . 26 27 28 28 28 28 29 29 29 30 30 31 32 33 34 34 34 35 35 35 36 37 37 38 SECOND PRINT ROOM. Photographic Processes 38 1. Natural objects, prints, etc., used as printing screens, 41 2. Daguerreotypes ....... 42 3. Negatives 42 4. Positives on glass ....... 43 5. Transfers of positives ...... 43 6. Ambrotypes 43 7. Ferrotypes ........ 43 8. Silver prints 43 9. Gold prints 44 10. Iron prints ........ 44 1 1 . Uranium prints ... .... 44 12. Platinum prints 44 1 3. Permanent photographs : — Enamel pictures ; dusted pictures; pigment-printing .... 44 14. Photomicrographs 46 15. Enlargements 46 16. Microphotographs 46 17. Instantaneous photography 47 18. Orthochromatic photography 47 19. Colored photographs 48 ARRANGEMENT OF THE EXHIBITION ix Photo-mechanical Processes 49 I. Technical methods 57 I. Materials used 59 2. The properties of gelatine 59 (^.) Intaglio Processes. 3. Photogravure in lines. . . . . 60 Photo-aquatint ....... 60 6. Ine Woodburytype ...... 63 Planographic Processes. 7- Photolithography 64 8. Collographic processes ...... 64 (r.) Relief Processes. 9, 10. The Etching Process ...... 66 II. Photo-aquatint in relief 67 12. The swell gelatine process ..... 67 13. The wash-out process ...... 68 14. Screen processes ....... 69 15. The relief-processes applied to color-printing . 71 II. Results Intaglio Processes. I . Joseph Nicephore Niepce, Paris .... 72 2. Henry Fox Talbot, London 72 3- Paul Pretsch, London ...... 73 4. E. Baldus, Paris ....... 73 5- Alphonse Poitevin, Paris ..... 73 6. Henri Gamier, Paris 74 7- F. Hanfstaengl, Munich 74 8. E. Albert, Munich 74 9. J. B. Obernetter, Munich 74 10. K. K. Militair-geographisches Institut, Vienna 75 II. R. Paulussen, Vienna 75 12. C. Klic, Vienna 75 13- C. Haack, Vienna 75 14. J. Lowy, Vienna ....... 75 15- H. Riffarth, Berlin 76 16. Photographische Gesellschaft, Berlin 76 17- Reichsdruckerei, Berlin 76 18. G. Scamoni, St. Petersburg ..... 76 19. Annan & Swan, Glasgow ..... 76 20. A. Dawson, London ...... 76 21. The Autotype Company, London .... 76 22. The Typographic Etching Company, London 76 23. Amand-Durand, Paris 77 24. Boussod, Valadon & Co., Paris .... 77 25- The Heliographic Engraving Company, New York, 77 26. Louis Brown & Co., Philadelphia .... 78 27. Gebbie & Husson Co. (Limited), Philadelphia 78 28. The Photo-Etching Company, Boston . 78 ARRANGEMENT OF THE EXHIBITION Davanne, Paris, 29. The New York Photogravure Company, New York, 30. A. W. Elson & Co., Boston 3 1 . Photo-intagho processes applied to color-printing : — Photogravure Co., Philadelphia; N. Y. Photogra- vure Co.; A. W. Elson & Co.; Boussod, Vala- don & Co 32. Woodburytype ....... 33. Woodburytype applied to color-printing {b.) Planographic Processes. Photolithography and Zincography. 1. Zurcher, Paris 2. Lemercier, Lerebours, Barreswill & 3. Alphonse Poitevin, Paris 4. Lodowick H. Bradford, Boston 5. P. Gibbons .... 6. E. I. Asser, Amsterdam 7. Wm. Toovey, Brussels . 8. J. W. Osborne, Melbourne, etc. 9. Sir Henry James . 10. The Heliotype Printing Co. (Line 11. Sprague & Co., London 12. Jas. Ackerman, London 13. The Heliotype Printing Co. (Grain work) 14. J. Bartos, Bohemia .... 15. Photolithography and zincography applied to printing: — Osborne's process; the Heliotype Printing Co.; Wezel & Naumann; H. Dorn L. Prang & Co work) color- 78 79 79 80 80 80 81 81 81 81 82 82 83 83 83 83 83 84 84 THIRD PRINT ROOM. Collogra ph ic Processes . 16. E. Albert, Munich 86 17. Albert Frisch, Berlin 86 18. E. Bierstadt, New York .... 86 19. The Art PubUshing Co., Boston . . . *' 86 20. F. Gutekunst, Philadelphia ... t 86 21. The Gravure-Etching Co., Boston . . .•86 22. The Heliotype Printing Co., Boston . . 86 23. The coUographic processes applied to color-print- ing: — The Forbes Lithograph Manufacturing Co.; The Heliotype Printing Co.; The Art Pub- lishing Co.; J. Low}^; Meissner & Buch; E. Albert; E. Bierstadt 86 (y J. Fittler, after Opie. 220. Landscape. Aquatint. As the plate is rubbed in with only ■wo colors, it shows the process clearly. 221. Un Minuet a I'Anglaise. Aquatint and stipple. 1800. 'By P. Roberts and J. C. Stadler, after Adam Buck. Retouched by , land. 222. Mile. De Lavaliere. Mezzotint. By G. Maile, after Gou- baud. Retouched by hand. I 223. Faith. Stipple. 1776. By Wm. Wynne Ryland, after An- Igelica Kauffman. The yellow in the chalice is added by hand. 224. A Young Girl. Stipple. By Ruotte, after Bartolozzi. Re- [ touched by hand. * 225. Epponina. Stipple. 1794. By Chas. Wilkin, after West. Slightly retouched by hand. 226. Cornelia. By Bartolozzi, after Angelica Kauffman. 1788. Shown in two impressions from the same plate, one printed in brown, the other in colors, slightly retouched by hand. 18 B. Intaglio engraving applied to color-print- ing : — Printed from several plates. Printing from several intaglio plates, to produce one picture in proper colors by the combined impressions, was first practiced, so far as is known, by Jacob Christoph Le Blon (b. 1670, d. 1741). Le Blon proceeded on the idea that three plates, printed respectively in red, yellow, and blue, ought to produce all colors and black. In practice, however, he is said to have used a great many more plates. Later color-printers adopted the same plan, but added a plate printed in black to those in color. The process was much used in the i8th century. 227. Cupids. Crayon manner, printed from two plates. By Gilles Demarteau, after Boucher. 228. Study. Crayon manner, printed from three plates. 1786. By G. A. Demarteau. 229. Head of a Young Girl. Crayon manner, printed from four plates. 1767. By Bonnet, after Boucher. 230. The Rescued Rooster. Crayon manner, printed from three plates. After J. B. Huet. Bonnet direxit. 231. Woman at the Clavichord. Crayon manner, printed from two plates. By Ploos van Amstel (b. 1726, d. 1798), after G. Dow. 232. Vertumnus and Pomona. Crayon manner, printed from six plates. 233. Battlepiece. Mezzotint, printed from two plates. By C. Rugendas (b. 1708, d. 1781), after G. P. Rugendas. 234. Shells. Mezzotint, printed from four plates. 1754. By Jacques Fabien Gautier d'Agoty. 26 CATALOGUE. 235. Frederic the Great. Mezzotint, printed from four plates. By Edouard Gautier d'Agoty (b. 1745, d. 1784). 236. Paul and Virginia. Lavis, printed from four plates. By I Chs. M. Descourtis (^b. 1753), after Schall. 237. Environs of Rome. Lavis, printed from four plates. By Chs. M. Descourtis, after De Machy. 238. Dutch Courtyard. Lavis, printed from three plates. By Francois Janinet (b. 1752, d. 181 3), after A. van Ostade. 239. Mademoiselle du T. . . Lavis, printed from four plates. By Franfois Janinet, after Le Moine. 240. Michel Lepelletier. Lavis, printed from four plates. By P. M. Alix (b. 1752, d. 1 81 9), after Garnerey. 241. Jean Hennuyer. Lavis, printed from four plates. 1788. By Ride, after Sargent. 242. House of Mrs. Garrick. Etching and lavis, printed from four plates. By Laurent Guyot (b. 1756), after W. Watts. 243. Ofteriy House and Park. Etching and lavis, printed from four plates. By Laurent Guyot, after W. Watts. 244. Trying on the New Dress. Dry-point with tints, printed from five or six plates. By Miss Mary Cassatt. 18 C. Color-printing from intaglio plates and re- lief blocks combined. 245. Fridericus Imperator. One etched plate, one relief block. 1557- 246. From A. Bloemaert's Drawing Book. One etched plate, one relief block. By F. Bloemaert (b. about 1600). 247. The Virgin with Saints. One etched plate, two relief blocks. By the Comte de Caylus (b. 1692, d. 1765) and N. Le Sueur (b. 1690, d. 1764), after P. de Pietri. 248. The Emperor Henry IV. kneeling before the Pope. One etched plate, two relief blocks. By the Comte de Caylus and N. Le Sueur. 249. The Holy Family. Baxter print. After Murillo. 250. Lugano. Baxter print. 1836. After G. Barnard. 251. Destruction of Sodom. Baxter print. 1836. After G. Jones. HL PLANOGRAPHIC PROCESSES. The planographic processes depend, as has been pointed out before (see p. i), on the chemical and physical prop- erties of the materials employed. Those here to be con- sidered make use of two kinds of printing surfaces : stone and zinc. We have, therefore, lithography {lithos, stone) and zincography. Other materials, natural and artificial, have been tried, but are not practically in use. The chemi- A. THE OLD PROCESSES, 27 cal processes involved are not, as yet, fully understood, but the following theory is the most generally accepted. Lith- ographic stone consists principally of carbonate of lime. If lime and fatty acids are brought together, an insoluble soap is formed. The drawings to be reproduced are there- fore executed on the stone with crayon or ink containing soap, and the surface of the stone is then treated with a weak solution of acid. The acid decomposes both the carbonate of lime and the soap, and the lime and the fatty acid thus set free combine to form an insoluble soap. The stone is furthermore treated with a solution of gum arable. Its surface now consists in the parts drawn upon of an in- soluble lime soap, and in the parts not drawn upon of carbonate of lime acted upon by the gum. If a stone so prepared is gone over with a wet sponge, the parts drawn upon reject the water, whereas the others accept it, and again, if a stone so moistened is rolled up in printing ink, only the parts drawn upon accept it, whereas the other parts reject it. The result in zincography is the same, but the chemicals used in treating the surface of the plate after the drawing has been completed are different. It is evident from what has been said that the planographic processes represent a new and very marked step in the progress towards reproductive methods which reduce the amount of human labor. Another specially noteworthy feature is their great versatility. Lithography was in- vented by Aloys Senefelder in 1798. The use of metals, including zinc, was also essayed by him, but the practical introduction of zincography is of later date. 252. A lithographic stone, with a drawing upon it, and an im- pression from it. 253. A zinc plate, with a drawing upon it, and an impression from it. I. Crayon Drawing. For crayon drawings stone is generally used, as zinc is inconveniently dark. The stone is grained, so as to give it a tooth, and the drawing is executed with crayons of different degrees of hardness, according to the character of the work, quite the same as on paper. Much original w^ork of this kind has been done by artists of celebrity, especially in France. 28 CATALOGUE, i^iif. Lithographic crayons, one of them sharpened and in holder. 255. Medea. Crayon drawing, by Emile Lasalle, after Delacro" 2. Pen-and-ink and brush work. Stones as wel as zinc are used for drawing on them with the pen, in lines or in stipple. For this purpose the stones are polished, while the zinc is given a very fine grain. The ink is pre- pared in solid form, and for use is rubbed in a saucer with water, like India ink. The pens are drawing pens of vary- ing degrees of fineness. Brushes are preferred to pens by many lithographers. 256. Lithographic ink. 257. Charles V. at the Taking of Tunis. Pen-and-ink drawing by P. J. N. Geiger. 258. Design in Commemoration of Schadow's Birth. Brush drawing by Adolf Menzel. 3. Engraving. If a stone is prepared with gum and acid before any drawing has been made on it, and it is then moistened, its whole surface will refuse to take printing ink, but if the surface is scratched, so as to remove the preparation, the scratches will take the ink. Therefore, if, on a stone prepared as above, a drawing is cut in with gravers, steel points, or a diamond, it can be printed from. The purpose of engraving in this case is not to produce deep lines, but merely to remove the preparation. 259. Illustration from Judd's Margaret." Engraved by Konrad Huber, after Darley. 4. Etching. A stone or a zinc plate is prepared as for engraving, and an etching ground is laid on it. The design is drawn through the ground with points, and the preparation is bitten away with a mordant where it has been laid bare. Aquatinting can be done in the same way. 260. The House in which Senefelder was born. Etching on stone. 5. Rub-tints, lavis, stumping, etc. Quite a number of devices have been invented to produce effects resem- bling mezzotinting, washes, etc. If a grained stone or A, THE OLD PROCESSES. 29 plate is rubbed in with solid lithographic ink of the proper consistency, and is then scraped like a copper plate on which a mezzotint ground has been laid, an effect similar to mezzotint is produced. These rub-tints" are largely used in chromolithography. The stump and washes laid on with a brush have also been employed. 261. Christ among the Doctors. Original lithograph, scraped by Adolf Menzel. 6. Spattering. A brush is charged with lithographic ink and a knife is drawn across the bristles, so as to cause the ink to spatter. In this way grained tints can be pro- duced which may be localized by partly covering the stone or plate. These tints are gone over afterwards with the point, to cut up the larger spatters, or with the pen to fill up. Similar results are produced by the instrument known as the air-brush. 262. The Madonna. Spatter lithograph from Senefelder's origi- nal treatise on lithography, German edition. 7. Autography. A drawing in lithographic ink is ex- ecuted on paper covered with a glutinous preparation. For crayon drawings, the paper must have a grain. If a drawing on such paper is placed, face downward, on a clean stone or zinc plate, then pulled through the press, and the paper wet from the back, the glutinous preparation will soften, so that the paper can be removed, leaving the drawing on the stone or plate as if it had been drawn on it. 263. Minerva. Autographic drawing in crayon by Jacob. From Senefelder's original treatise on lithography, French edition. 264. Cat. Autographic drawing on mechanically grained paper, by T. Heywood. 8. Transferring. Upon the autographic process is based the process of transferring, which is tb lithography and zincography what electrotyping is to wood-engraving. From a drawing made on stone or zinc an impression is taken on a piece of prepared paper (transfer paper), in a fatty ink (transfer ink), and this is transferred to another stone or zinc plate, as described under Autography.'' There is, of course, no limit to the number of transfers 30 CATALOGUE. that can be made, and therefore the number of impressions to be gotten from a single lithographic drawing is practi- cally unlimited. The best transfers, however, result from firm, well-defined work, whereas those from fine crayon drawings are unsatisfactory. Impressions from wood-cuts, line-engravings, etc., can also be transferred, and can thus be transformed into lithographs, 265. Original drawing on zinc. 266. An impression on transfer paper, ready for transferring. 267. A zinc plate with the transfer from No. 265. 268. The transfer sheet, after the transfer has been made. 269. Impressions from original and transfer. 9. Presses and Printing. The hand-presses on which wood-engravings are printed are platten presses, that is to say, the pressure on the block is exercised by a flat platten (see No. 34). The hand-presses for intaglio plates are roller presses, so called because the plate to be printed passes between rollers (see No. 76). The lithographic hand-presses are scaper presses, the pressure on the stone or plate being exercised by a flat piece of wood which is stadonary, while the stone passes under it. In planogra- phic steampresses the pressure is produced by cylinders, as in the steampresses used for printing type or relief blocks ; but in addition to the inking .apparatus, they are provided with a moistening apparatus, as the stone or plate must be kept moist to prevent the ink from taking on the parts not drawn upon. At the hand-press, the moistening is attended to by the printer. 270. A Lithographers' Shop. A hand-press, with a printer at work, is seen to the right. A slight indication of a steampress is given in the background. The man to the left is graining stones, by rubbing two of them together, with sand between them. To the right of him is a lithographic draftsman, drawing on a stone. In the right foreground stands an " etching trough," with a stone upon it ready to be " etched," that is to say, treated with acid and gum. The vessel near it contains the mixture to be used, and on it lies the " etching brush " with which it is spread over the stone. 10. The planographic processes applied to color- printing. Of all the many reproductive processes, none have proved so serviceable for color-printing as lithography B. SUBSTITUTE PROCESSES. 31 and zincography. This is due to comparative cheapness and rapidity, to the advantages offered by transferring, and to the versatility of these processes, which can inter- mingle flat tints, gradated tints, lines, and dots, if need be, on the same stone or plate. Without them, therefore, the vast development of color-printing, which has done so much to increase educational facilities and artistic en- joyment among the people at large, would have been quite impossible. The earliest chromo-lithographers proceeded on the three-color theory, according to which a completely colored picture ought to result from printings in red, yel- low, and blue superimposed. But for elaborate work from ten to fifty printings are used. 271. Study by Raphael. Two printings, black and one tint. By J. Pilizotti. 272. The three-color theory, exemplified by a lithograph printed in yellow, red, and blue, with a black stone for the drawing. 273. Christmas Cards, executed in pen-and-ink; 13 to 19 print- ings. — Published by L. Prang & Co. 274. Imitations of Water-colors, executed in crayon, rub-tints, etC; : — (rt;.) " Morning in Venice," after Ross Turner; 13 printings. — {b^ "A Misty Morning," after L. K. Harlow; 16 printings. — (<:.) "Oasis of Filiach, Algiers," after R. Swain Gifford; 24 printings. — Published by L. Prang & Co. 275. Imitation of an oil painting, executed in crayon, rub-tints, etc. : — " Madonna and Child," after Cignani; 25 printings. — Published by L. Prang & Co. B. SUBSTITUTE PROCESSES. The tendency to reduce the manual labor of engraving, which was apparent already in some of the older pro- cesses (etching and lithography), is carried as far as it is possible without the aid of photography in the processes grouped together in this division. They differ from the older processes, moreover, in this, that they are, with isolated exceptions, the outcome of the industrial rather than of the artistic development of modern times. It is not their purpose to supply the artist with new means of expressing his individuality. They strive to imitate some- 32 CATALOGUE. thing more costly in a way capable of rapid and extensive utilization in large industrial establishments. Cheapness is with them the first consideration, with as much artis- tic perfection as this limitation will allow. The first es- says of note in this direction were made about the begin- ning of the 19th century, and the growth of the substitute processes kept pace with the growth of industrialism, until most of them were superseded by the photo-mechanical processes. With these latter they have one feature in common, — the hideousness of their nomenclature. The older processes had, indeed, been saddled already with high-sounding names, such as chalcography, xylography, siderography, etc , but the evil increased with the striving of every inventor or improver to advertise himself by attaching his name to his products, or, still worse, to im- press upon the public the importance of his invention or improvement by barbaric agglomerations of Greek or Latin words, to designate something which Greeks or Romans never could have thought of. The matter is not mended by the fact that sometimes the same name has been applied to processes totally different from one another. The specimens here shown do not represent all the processes of this kind known, but the grouping adopted for those illustrated will give a fair idea of the various methods adopted to reach the desired end. The most regrettable lack is that of specimens of the methods based upon the use of mercury, such as those practiced by Dulos in the first half of the century. I. Relief-etching. A. The simplest method of producing blocks printable in the type-press without en- graving by hand is to etch the lines and dots composing the design into relief. Senefelder tried to practice relief- etching before he discovered lithography, and Blake pro- duced his Prophetic Books," etc., by the same process. It is hardly necessary to say that it is the older etching process reversed. In this the lines are bitten into the plate, in relief-etching the metal around them is bitten away. In the older processes of the kind under consid- eration the design was drawn on the plate with an ink capable of resisting acid, in the later it is drawn on paper B. SUBSTITUTE PROCESSES. 33 and then transferred, as in autography. Gillot, of Paris, who took out a patent in 1850, was the first commercially successful operator, as he overcame the difficulties of etching more skilfully than his predecessors, laying, in fact, the foundation for the methods of etching at present practiced in the photo-mechanical processes (see p. 54). He called his process paniconography {pan., all, eiko7i, image, graphem^ to grave), but it is more generally known as giliotage. Various other names have been invented for relief-etching, the best of them being typographic etching, as the blocks produced are really etchings destined to be printed in the type press. 276. Drawn on the plate. Dembours of Metz, 1835. " Ectypo- graphie metallique " {ektypos, worked in relief). Two specimens. 277. Pen drawing on paper, transferred to the plate. Leitch. 278. Crayon in relief. Drawn on a grained zinc plate. C. Stahl. 279. Aquatint in relief. Shirley Ilodson. 2. Relief-etching. B. In this class are grouped to- gether a number of processes which involve etching, but are more complicated than those under A. In some of these methods the parts not to be attacked by the mordant are gilt {chrysoglyphy, chrysos, gold, glyphein, to hollow out). For chemitypi?ig an intaglio etching is executed on a metal plate in the usual way, and the bitten lines are filled with an easily fusible alloy. The plate is then etched a second time, with a mordant which attacks it, but does not attack the alloy, and therefore leaves the lines standing in relief. In the Comte Process, a zinc plate is covered with a ground of gum arabic, mixed with zinc w^hite and a yellow color (jaune d'Avignon). The design is executed with quill pens or ivory points, used like etching points, so that they lay bare the copper. The whole plate is now rolled up with ink, capable of resisting acid, and placed in a dish of water. The water dissolves the ground left on the plate, and the ink upon it floats off with it, while it remains on those parts which were bared ^ In a number of processes which may be included in this class, galvanic action is used instead of a mordant. 280. Chemityping. Two specimens. 281. Comte process. Drawn by Karl Bodmer. I CATALOGUE. 3. Wax Processes. A metal plate is covered with a wax ground, and the design is cut into it with suitable instruments, down to the plate, but without wounding it. The wax ground may be so prepared that the design can be photographed on it. The spaces between the lines are built up where necessary, generally with wax, — a very delicate operation requiring great skill, — and an electro- type is made, which can be printed from in the type press. Very good work has been done by these processes, and they are still largely used, more especially for maps, dia- grams, machine drawings, etc. 282. Palmer's Glyphography {glyphein^ to hollow out). Lon- don, about 1844. Two specimens. 283. Xerography {Keros, wax.) London, 186 1. Invented by Charles Hancock. Two specimens. The same name has been applied also to other processes. 284. Dawson's " Typographic Etching." Two specimens. A most unfortunate name, as no etching is involved. 285. Chandler & Jewett's process. Two specimens. 4. Clay Surface Processes (" Kaolatype," from kao- line, China clay). A metal plate is coated with a compo- sition of pipe clay, etc., and in this mass the drawing is cut with hook-shaped tools, down to the surface of the plate. A stereotype (metal cast) furnishes the printing block, to be used in the type press. The rapidity of these processes makes them useful for quick newspaper work of small dimensions. 286. A plate (Schraubstadter Star Engraving Plate), with a draw- ing cut into the coating. 287. Cutting tools used by kaolatypers. 288. Impressions from blocks cast from drawings on Star Engrav- ing Plates. 5. Graphotype. According to Knight's Encyclopaedia, a zinc plate is covered with a thick coating of oxide of zinc. Upon this the drawing is executed with an ink con- sisting of a chloride of zinc and a menstruum. Where the ink comes in contact with the coating, the latter is hardened by the formation of oxychloride of zinc. The rest of the coating, between the lines, is removed by brushing and rubbing. In one form of the process, the adhering material is solidified by immersion in a solution of silicate of soda. B, SUBSTITUTE PROCESSES. 3S The printing block is obtained by electrotyping. Invented by D. C. Hitchcock. 289. Graphotype. One specimen. 6. Galvanography, invented by Franz von Kobell, 1839. design is painted upon a metal plate, with colors which dry with a lustreless or granular surface, and are laid on thinly in the lights, and more thickly as the shadows increase in depth. Pen-and-ink and crayon draw- ings can be made in a similar way. Electrotyping furnishes an intaglio plate, which can be printed in the roller press. 290. Two specimens. By Franz von Kobell. 7. Blocks of Soft Mass. In the wax and clay surface processes an easily worked mass is spread upon a support of metal, to which the cutting tool must descend. They are used only for the production of relief blocks. For the production of intaglio plates with a minimum of labor, and offering at the same time the desired facility of cutting lines of varying depth, another process has been invented to which has been given the name of stylography (stylos, a style). The same name has, however, been applied also to other processes. The blocks used are of a softish black composition, whitened on the surface, and the work is done with points and other tools specially devised for the pur- poser Electrotyping furnishes the plate. Although spe- cially suitable for intaglio engraving, this process can be used also for the production of relief blocks. 291. Stylography. One specimen. 8. Stenochromy. The blocks used in the stenochromic processes {stems, narrow, close, chroma, color), may also be said to consist of a softish mass, but their purpose is the printing of many colors at one impression. The print- ing block is a mosaic of masses of dry, or nearly dry, oil- colors, cut to the shape of the spot of color which they are to reproduce, and fitted closely together. This block, whenever an impression is to be taken, is moistened with a fluid which softens the colors, so that a bibulous sheet pressed against it can absorb them. As only flat tints can 36 CATALOGUE. be produced in this way, the picture is finished by impres- sions from one or two lithographic stones. Senefelder invented a similar process (mosaic printing), and J. Liep- mann practiced and described another in the year 1842. 292. Stenochromic print. Unfinished. By Radde, of Hamburg. 293. Stenochromic print. Finished. By Radde, of Hamburg. 9. Machine-engraving. Machines are largely used in modern engraving, but only as auxiliaries, for ruling straight or wavy lines (see Nos. 202-207). In machine engraving properly speaking, the machine does all the work. There are various kinds of these machines : — guil- loche machi?tes (supposed to have been invented by one Guillot) or lathes, which produce ornamental designs con- sisting of interlacing lines, circles, etc., such as are used on bank notes ; medal-ruling machines^ in which a point is made to travel over the medal or other low relief of which an engraving is wanted, while by an ingenious arrange- ment a second point, governed by the movements of the first, traces a series of lines, nearer together or farther apart, according to the variations of height in the original, upon a metal plate or a lithographic stone ; and universal machines^ which do all kinds of work. Most of these machines are so constructed besides that the design can be reduced or enlarged, or reversed. The first medal- ruling machine was built about 1830, by Achille Collas of Paris. A similar machine was constructed somewhat later in the U. S. by Joseph Saxton. All the machines so far named are for intaglio engrav^ing. The Shanks machine, on the contrary, produces relief blocks of a simple kind. The engraving is done by cutting the lines into a slab of plaster of Paris, thus producing a matrix from which electrotypes can be made.. 294. Universal engraving machine, built by Ferd. Lotz, of Offenbach. 295. Medal-ruling on metal. Done on a Collas machine. 296. Medal-ruling on metal. The portrait only is ruled. 297. Medal-ruling on stone, with reductions and enlargements, done on Lotz's universal machine. 298. Relief machine-engraving, done on Shanks's machine. B. SUBSTITUTE PROCESSES. 37 10. Nature-Printing. In the processes so far described, the activity of the designer or of the engraver, or of both, is still a factor of importance. In those here to be con- sidered the designer and the engraver are entirely elim- inated, and the forces of nature are compelled to do all the work, although still without the aid of photography. In their application, however, these processes nre quite limited, and their aims are scientific and not artistic. Ac- cording to the objects to be represented, they may be divided into two classes: — mineralography and mineralo- typ}\ and fiature-printing more especially so called. The representations of the texture of minerals, etc., included in the first division, are obtained by cutting the specimen in question to a plane surface, polishing it, and treating it with an acid, which attacks certain parts, but does not affect others. Electrotypes can be taken from the surfaces so prepared. If these are printed like intaglio plates, the impressions are called mineralographs, if like relit^f blocks, mineralotypes. In the process more particularly known as nature-printing," leaves, plants, etc., are pressed into soft metal, more fragile objects into a gutta-percha com- position, and the impressions thus obtained are repro- duced by electrotyping. If such electrotypes are inked in the impressed lines, the results resemble those obtained from intaglio plates, if they are inked on the surface, like a relief block, the designs show white on a colored ground. 299. Mineralographic impression. From an etched mineral. 300. Mineralographic impression. From an etched petrifaction. 301. Mineralotypic impression. From an etched mineral. 302. Nature-printing. A leaf. Intaglio printing. 303. Nature-printing. A plant. Intaglio printing in colors, pro- duced at one impression, the plate charged with three colors. 304. Nature-printing. Laces. The plate inked on the surface and printed in the type press. 11. Gelatine Processes. Since the properties of gel- atine have been investigated in connection with the photo- mechanical processes, a number of methods have been devised for using gelatinous masses as printing surfaces without the intervention of photography. Several of these are described by Poitevin. A well-known device of this kind is the hectograph (hekatbn^ hundred, graphein, to write, 33 CATALOGUE. in allusion to the supposition that about one hundred copies can be printed by this contrivance), a gelatinous mass in a tin tray, to which letters or designs in writing ink are transferred from a sheet of paper. From the transfer thus obtained a number of impressions can be made on sheets of paper rubbed against it, and the transfer can then be washed off, leaving the gelatine in condition to receive new transfers. A process based on similar principles, for the reproduction of drawings in several colors at one im- pression, has recently been patented. The direct transfer process^ by which transfers to stone can be obtained from designs in writing ink on paper, which have previously been transferred to prepared gelatine, also belongs to this category. 305. Gelatine print. From a drawing by H. Farny, executed in writing ink on paper, transferred to gelatine, and then printed from the gelatine. 306. Direct transfer process print, printed from stone. 12. Closson's Process. The latest of the processes properly belonging to this division is the one invented by the well-known wood-engraver and painter, Mr. VVm. B. Closson. As Mr. Closson has not yet made public the details of his invention, no description can be given here. The specimens exhibited show that it is capable of excel- lent results in the hands of an artist, both for intaglio and for relief printing. 307. Hawthorne's Boathouse. Relief printing. 308. The Pines. Intaglio printing. 309. Portrait of an Old Woman. After Rembrandt. Intaglio printing. C. PHOTOGRAPHIC PROCESSES. The photographic processes (^phos, photos^ ligl^t, graphein, to write, to grave) either depend entirely on the action of light for the making of the pictures which result from them, as well as for their reproduction, or they reproduce and multiply already existing pictures by the same means. Under certain conditions the colors of most substances are C. PHOTOGRAPHIC PROCESSES. 39 affected by light, which either darkens or bleaches them, thus showing that the substances themselves have under- gone a change in their chemical constitution. If these changes can be localized and controlled at will, they offer a means of delineation, and this is what photography does. In a photographic picture, the lights and shades are due to the varying intensity of the light which has acted on a surface covered or impregnated with a sub- stance sensitive to its influence, the action of the light having been stopped at the right moment, and the condi- tion of the sensitized surface so changed that it has become indifferent to further action of the same kind. This done, the next desideratum, is to multiply the picture obtained. Photography, offers, therefore, three principal problems : — (i.) To prepare a surface which shall be so delicately sensitive to the influence of light that an immeasurably short exposure will suffice to impress it ; (2.) To make the resulting pictures permanent, at least in so far that the action of light shall have no further influence upon them ; (3.) To devise means of multiplying the photo- graphic picture without the necessity of repeated exposure before the object photographed. That the first problem has been solved is shown by the achievements of instantaneous photography. The demand for permanency not being wholly satisfied by the salts of silver still almost universally used in pho- tography, the attempt has been made to substitute other metals, such as iron, gold, uranium, and platinum for silver, and of these platinum more especially is growing in favor on account of its beauty and permanency. Abso- lute permanency — so far as anything finite can be called permanent — is offered by enamel photography, which converts the images obtained in the camera into pictures on enamel, or on porcelain and glass, fired in the kiln, and therefore quite as indestructible as painted enamels. The bulkiness of these photographs, however, restricts their use to medallion portraits and the like. A solution capa- ble of wider application is offered by pigment-printing (carbon-printing), which produces pictures on paper or any other material, consisting of finely divided carbon or other inert coloring matter, fixed to the substratum used 40 CATALOGUE. by gelatine made insoluble by the action of light. A similar result is reached, although less satisfactorily, by the dusting or powdering processes, which proceed by rendering a sensitive surface tacky in parts, so that it will accept and hold powdered carbon, etc., in quantities pro- portionate to the action of the light upon it. The possibility, finally, of reproducing photographic pictures without a re-exposure before the object photo- graphed, is given by the negative processes. It was one of the inconveniences of the daguerreotype, as it is of the ambrotype and the ferrotype, that each picture required a separate exposure, whereas by the use of a negative an almost unlimited number of positive copies can be made by sun-printing or printing by artificial light. A fourth problem must be mentioned here with which science has already dealt with some measure of success, the problem namely of translating the colors of nature or of art into monochrome in accordance with their true values. The older photographic processes are very unsatisfactory in this respect, nearly all shades and hues of blue being rendered too light, and the reds, yellows, and greens too dark by them. This defect has been largely done away with by orthochromalic photography {prthos^ right, chroma^ color, called also isochromatic photography, from isos^ equal). The attempts to produce many-colored pictures corre- sponding in all their hues to the colors of nature, paintings, etc., by direct exposure of a single sensitive surface, have so far given results which are interesting scientifically only. They point to the highest achievement which photography can strive to attain. In a more indirect way the problem has been attacked by what has been called composite heliochromy {helios^ the sun, chroma^ color), based either upon the old theory that all colors are produced by red, yellow, and blue rays, either pure or mixed in different pro- portions, or on the more correct modern theory that there are three fundamental color-sensations which correspond to red, green, and bluish violet. Some of the results of these experiments are included in the present division, as well as in division D of this exhibition. The specimens shown give a fair idea of the various C. PHOTOGRAPHIC PROCESSES, 41 methods and achievements of photography, and of the principal steps in its history. No attempt can be made, however, to enter into the theory of photography in this catalogue. Ignoring isolated experiments without definite aim made by earlier investigators, it may be said that photography proper, that is to say, for the purpose of pictorial repre- sentation, began with the experiments on nitrate of silver published by Wedgwood and Davy in 1802. In the year 18 13 Joseph Nicephore Niepce began his researches on the sensitiveness of resinous substances, which led to the production of the first intaglio plates by the aid of light. In 18 19 Sir J. Herschel discovered the property of sodium hyposulphite to dissolve the silver chloride, which made it possible to fix the hitherto fugitive silver images. The year 1839 of great importance in the history of pho- tography, as Mungo Ponton then published his experiments with paper sensitized by bichromate of potash, and Arago reported to the French Academy on Daguerre's process. In 1841 Talbot patented his " calotype process" {kalos, beautiful), which introduced the use of paper negatives made in the camera, and on which he had worked since about 1834. The first negatives on glass coated with albumen were made by Niepce de St. Victor in 1847. wet collodion process, suggested by Le Gray, was practi- cally introduced by F. S. Archer in 185 1. The latest great achievements in photography are the introduction of gela- tine dry plates for negatives and of gelatine-bromide paper for printing. I. Natural objects, etc., used as printing screens. The first experiments in photography were made by expos- ing sensitized paper to sunlight under |)aintings on glass, leaves, the wings of insects, etc. The result was a negative, which in its turn could be placed on a sensitized sheet, to produce a positive. These earliest photographs were made with nitrate of silver, but they were fugitive, as the art of fixing them had not yet been discovered. The silver prints here shown are modern, made with silver chloride and fixed with sodium hyposulphite. The bichro- mate prints, also made by exposure under leaves and en- 42 CATALOGUE. gravings, are believed to date back to the year of Mungo Ponton's publication. 310. Five bichromate prints. By Prof. C. Enslen. Said to have been made in 1839. 311. Seven prints from natural objects, on silver chloride paper, negatives and positives. By Thomas Gaffield. 2. Daguerreotypes. Executed on silvered copper plates sensitized with iodine, etc., developed with mer- cury, fixed with sodium hyposulphite, and toned with gold chloride. 312. Two portraits, made in New Bedford about 1842. 313. One of the first operations performed under ether. By Hawes, of Boston. 1846. The room shown is the old amphitheatre of the Massachusetts General Hospital, which was beneath the dome of the building. The attending physicians are Dr. John C, Warren, Dr. J. Mason Warren, Dr. Samuel Parkman, and Dr. Townsend. 314. Five portraits and a View of a church in Savannah, made in various parts of the United States up to about 1852. The coloring seen in some of these daguerreotypes is added by hand. 3. Negatives. Negatives are printing screens in which the relations of light and shade are reversed. If a piece of sensitized paper is exposed to the light under such a negative, the result is a positive picture, in which the relations of light and shade are correct. 315. Paper negative, made from a print by direct contact, i, e., without the aid of the camera. The original print and a positive from the negative are also shown. By Thomas Gafheld. 316. Paper negative, made in the camera, according to Talbot's calotype process, by Langenheim, in New York, about 1849, with a (recent) silver print on plain paper from it. 317. Waxed paper negative, made in the camera, according to Le Gray's process, by Gen. Joseph Rowland, at Nice, in 1857, with a (recent) silver print from it. 318. Glass negative, wet collodion process, made in the camera, with a silver print from it, by H. G. Smith, Boston. 319. Glass negative, dry plate process, made in the camera, with a silver print from it, by the Notman Photographic Co., Boston. The face is stained red in the negative to cause it to print lighter. 320. Stripped negative on collodion film, made in the camera, with a silver print from it, by T. W. Smillie, Washington. 321. Celluloid film negative, made in the camera, by Miss Fran- ces B. Johnson, of Washington, with a silver print from it. Subject: C. PHOTOGRAPHIC PROCESSES. 43 The Museum at Chalon-sur-Saone, which contains the Niepce Collection. The statue seen is that of Niepce. 322. Stripped negative on gelatine film, made from an engrav- ing in the camera, by the Art Publishing Co., Boston. Negatives of this kind are used to make the printing films for collographic printing. (See Division D.) 323. Black and white negative on glass, made from a line drawing in the camera, by the Art Publishing Co., Boston. The preced- ing camera-made negatives show gradations from black to white through half tones. This negative shows clear lines (the pure glass) on a per- fectly opaque black ground. This is the kind of negatives used for line work in the photo-mechanical processes. (See Division D.) 324. Artificial negative (so-called "etching on glass"), with a silver print from it. The glass is coated with a thin collodion film, sensi- tized, exposed, and developed as usual. The drawing is then executed on this film with hard points, so that each stroke removes the film and leaves the surface of the glass exposed, thus allowing the light to pass. 4. Positives on Glass. 325. Enlargement made in the camera, from a smaller collodion negative by W. H. Holmes. 5. Transfers of Positives. 326. Seven collodion positives transferred to paper. Made in Paris about i860. 327. Two collodion positives transferred to enamel (not burned in). Made in Paris about i860. 328. Gelatine bromide positive transferred to porcelain by means of Eastman's transferotype paper. 6. Ambrotypes are thin camera-made collodion nega- tives, on which the deposit is kept as light as pos- ible, mounted on a black background, or japanned on the back. 329. Unbacked ambrotype. 330. Four backed ambrotypes, one of them from a lithograph. The tinting of the cheeks on the portraits is added by hand. 7. Ferrotypes (melanotypes, tiiitypes) are ambrotypes made on sheets of japanned iron. 331. A sheet of iron used for ferrotypes. 332. Six portraits. The sheet with many portraits was made at one exposure in a camera with as many lenses. The tinting on the cheeks of the small portraits is added by hand. 8. Silver Prints. 44 CATALOGUE, 333. On albumenized paper. Fifteen portraits and views, by the Notman Photographic Co., Boston. 334. On plain paper. Three reproductions of oil paintings, with silver prints for comparison, by C. G. Cox, New York. 335. On Whatman drawing paper, prepared with arrowroot, not toned. Eight views in Egypt, by Hamilton Emmons. 336. Gelatine bromide print. Portrait, by Augustus Marshall. Enlargement from a smaller negative. 9. Gold Prints. 337. View from Nature, by T. W. SmiUie, Washington. Plain paper sensitized with ferric chloride, developed with gold chloride, washed with oxalic acid in solution. 10. Iron Prints. 338. Blue print, from an engraving. By the Soule Photograph Co., Boston. 339. Blue print, from the waxed paper negative, No. 317. 340. Ink picture. Printed under a positive (print). From Lietze's " Heliographic Processes." 11. Uranium Prints. 341. From an engraving, by T. C. Roach. 12. Platinum Prints. 342. Three portraits. By Augustus Marshall, Boston. 343. Eight portraits and groups. By the Notman Photographic Co., Boston. 344. Group. " Keeping House," by the Obrig Camera Co. 345. From a painting, "The Mermaid," by F. S. Church, N. A., by A. Z. Seibert, New York. 13. Permanent Photographs. It has been stated already that enamel photographs and photographs on por- celain and on glass, which have been fired in a kiln, are practically indestructible. Without entering into particu- lars, it may be said that there are several kinds of enamel processes, known as substitution processes, and dusting or powdering processes, and that the pigment-printing pro- cess (see below), and the collographic process have likewise been used for the production of enamel pictures. The enamels here shown are the result of a substitution process involving the use of a salt of iridium. The dust- ing or powdering processes are used also to produce per- 45 manent pictures on paper. The principle on which they rest has been alluded to on a previous page (p. 40). Of much greater importance is the pigment- (or carbon-) printing process, which must be explained somewhat more in detail, as it enters largely into photo-mechanical process work. It may be outlined as follows : An inert pigment (for black carbon is used, whence carbon-print- ing " ) is mixed with gelatine, the mixture spread on paper, and allowed to dry. Paper so prepared is known as "carbon tissue." For use, it is sensitized on a solution of bichromate of potash, and is again allowed to dry. It is then exposed to the light under a negative. The light penetrates the gelatine film, deeply where its action is strongest, less deeply where it is less strong, but always in proportion to the degree of action exercised by the light. As the light hardens the bichromatized gelatine, so that it will no longer dissolve in hot water, the result of the expo- sure is really the production of a very slight relief in the gelatine film, which is thickest where the action of the light was strongest and thinnest where it was weakest, with gradations of thickness between these two extremes cor- responding to the gradations of light and shade in the original. The question now is how to get at this relief, which is embedded in the general mass of the carbon tis- sue, with its back upward. If the sheet as it stands after exposure were washed in warm water, the unchanged gela- tine between the relief and the paper supporting it, would, indeed, be dissolved, but the thinner parts of the relief would float off with it. To prevent this, it is necessary to transfer the gelatine film to another sheet, to which it is fastened with the exposed surface. The washing away of the unchanged gelatine — the "developing" as it is called — can now be proceeded with without danger, until only the hardened gelatine relief, colored by the pigment mixed with it, is left on the sheet. It stands to reason that this relief produces all the gradations of the original, since in its thickest parts it allows no or very little light to pass, while in its thinner parts the white of the paper is seen through it in proportion to their thickness, until in the high lights there is so little left of the gelatine film that they appear of a clear white. If a reversed negative has 46 CATALOGUE. been used in printing, the picture is correct as to right and left after it has been transferred. If, on the contrary, an ordinary, unreversed negative has been used, the result of the first transfer is a reversal of right and left. In that case it becomes necessary to do the developing on a tem- porary support, and after it has been com.pleted to restore the picture to its correct position by a second transfer. As soon as the definite transfer has been made, the gela- tine is hardened by chemical means, so as to make it insol- uble. As the pictures produced by pigment-printing are composed of carbon or other inert coloring matter, it is evident that they must be quite as permanent as impressions in printer's ink taken from engraved plates. Pigment- printing vvas first suggested by Poitevin in 1855, but it did not become practically useful until Swan elaborated the transfer process, as described in his patent of 1864. 346. Six enamel photographs. By Augustus Marshall, Boston. 347. ' Dusted picture By F. Joubert. i860. 348. Carbon tissue, i, e., paper coated with gelatine charged with pigments of different colors, used for pigment-printing. 349. Pigment- Print in two states, i. e., partly washed off or de- veloped, and fully developed. 350. Five pigment-prints (carbon-photos) by A. Braun & Co., of Dornach. 14. Photomicrographs. 351. Group of Diatoms. By L. H. Loudy, New York. 352. Piece of a Section of Wood. By T. W. Smillie, Washington. 15. Enlargements. 352<3:. Piece of a Section of Wood. Enlargement of No. 352. 353. An Egyptian Statuette. (See also Nos. 325 and 336.) 16. Microphotographs. 354 A Pigeon Post Film, such as were used during the siege of Paris for communication with the outside world. 355. The Lord's Prayer, Views, etc., mounted in pendants. — Visitors, desiring to see these specimens of microscopic photography, will please ask the custodian to shoAv them to them. C. PHOTOGRAPHIC PROCESSES. 47 17. Instantaneous Photography. 356. Five photographs of vessels in motion. By T. W. Smillie, Washington. 356^. Two enlargements of instantaneous photographs of ves- sels C Volunteer " and Mayflower ") in motion. By David Mason Little, Boston. 357. Two photographs of lightning. 18. Orthochromatic Photography. To properly translate a natural view, or a picture in colors, into mono- chrome, it is necessary that every color should be repre- sented according to its correct valuc^ i, e., of the degree of luminosity which it seems to have to the eye. Thus yellow, being a very bright color, must be represented nearly white, whereas a medium blue, being of low luminosity, must be of a correspondingly low shade of gray. In ordi- nary photography, however, as it was carried on previous to the discovery of the orthochromatic processes, the yellows, as well as the reds and greens, were reproduced altogether too dark, while the blues and even the violets were rendered far too light, the lighter blues often appear- ing as white. This is due to the fact that the chloride, iodide, and bromide of silver, which are used as the sensi- tive substances in photography, are much more powerfully acted upon by the violet and blue rays than by the green, yellow, and red rays. It has been shown, however, that these salts may be made more sensitive to the reds, yellows, and greens by treatment with certain organic sub- stances which absorb the rays in question, and less sensi- tive to the blues and violets by the interposition between the sensitive plate and the object to be photographed of yellow screens, which subdue the efTect of the blue and violet rays. The results reached are not absolutely cor- rect, but the specimens here shown certainly prove that a great advance has been made towards the end aimed at. " For an exact representation in monochrome," says Capt. Abney, in his Treatise on Photography," perfect truth can only be attained when the curve of sensitiveness of the compound [used in the treatment of the sensitive plate] to the spectrum follows the curve of luminosity of the spectrum, and at present such a compound has not been, nor, if an opinion may be expressed, will it ever be, 48 CATALOGUE. found, but an approximation may be made by an artifice." The study of orthochromatic photography was first carried on systematically in Europe by Dr. H. W. Vogel, of Ber- lin, and in America by ]\Ir. F. E. Ives, of Philadelphia, who was the first also to introduce it commercially. 358. Blue ribbon on a yellow ground, with photographs from it by the ordinary and by the orthochromatic method, by F. E. Ives. The negative for the orthochromatic photograph was made on a com- mercial orthochromatic plate, with a yellow screen back of the objective. 359. Chromolithograph, with photographs from it by the ordi- nary and by the orthochromatic method, by F. E. Ives. Same method as No. 358. 360. Two photographs from a painting, one by the ordinary, the other by the orthochromatic method, azaline process, by W. Kurtz. ( See also Nos. 582 and 583 in Division D.) 2i^\a'-j. Ten photographs from paintings, by the orthochro- matic method, azaline process, by W. Kurtz. 19. Colored photographs. No specimens having been obtainable, the attempts to photograph the spectrum, paint- ings, etc., in their true colors at one exposure, cannot be illustrated here. The combination of color with photog- raphy, by pigments laid on by hand, is exemplified by some of the daguerreotypes, etc., in this exhibition. The Bon- naudtype, patented in 1879 and 1882, is based on a sim- ilar, but more intimate combination. Very excellent re- sults have been obtained by Mr. F. E. Ives, by his process of composite heliochromy which comes as near solving the problem of photographing the colors of nature as any method yet devised, although by a process quite different from that involved in the experiments alluded to at the beginning of this paragraph. For the application of sim- ilar methods to printing, see Division D, Nos. 657-662. 362. Bonnaudtype. On a lightly printed photograph, used to give the general outline, the colors are laid in flat tints by hand, or they may be printed lithographically, in which case the lightly printed photo- graph can be dispensed with. The colors themselves are either mixed with albumen, or the paper is again albumenized over them, and sensi- tized as before. It is then exposed once more under the same negative, and the picture this time is fully printed. The photograph, therefore, is either developed in the layer of colors, or the colors are under the photograph. 363. Composite heliochromy. Two window transparencies of microscopic objects seen by polarized light. By F. E. Ives. Three nega- Z?. THE PHOTO-MECHANICAL PROCESSES. tives are made on one plate at one exposure, in a triple camera, through carefully adjusted selective color screens, cutting off respectively the three colors which correspond to the three fundamental color-sensations according to the Young-Helmholtz theory, viz. : red, green, and bluish violet. These negatives are primarily intended for projection on a screen, and if thus used, that is to say projected upon one another with red, green, and bluish violet light, again very carefully adjusted, the result is that they produce in the eye all the colors of nature. Views from nature (Yellowstone scenery, etc.) and from works of art have thus been made, which are very successful. The transparencies shown consist of three superposed gelatine films made with the negatives in question, but dyed — as they are to be seen by transmitted instead of reflected light — by the colors complementary to the three fundamental color-sensations, i. e.y by yellow, blue, and purple. This is essentially the combination used also in the processes based on the old three primary- color theory, but the result is arrived at in a different way, and the hues, which differ somewhat from those of the so-called primary colors, are specially selected. The process, patented by Mr. Ives, has not yet been applied to printing in its present development. D. THE PHOTO-MECHANICAL PROCESSES. The demand for a process which can produce a multi- pliable picture without the intervention of either designer or engraver would seem to be met by photography, since from a negative made by the action of light a large num- ber of positives, or " prints," can be obtained by the same means. Photography has, however, several limitations which circumscribe its usefulness. In the first place, most of its productions are not free from the suspicion of lack of permanency. In the second place, the operation of multiplying copies from a negative, in spite of all improve- ments, is still too slow and too costly, and the cost increases in the same ratio as the promise of permanency. Finally photographs must be mounted, which is a fatal objection to them as book illustrations, and still more unfits them for newspaper work. What is wanted is a process which, from any scene in nature, or stationary or rapidly moving object, or work of art of any kind, will produce a block or plate, printable in ordinary printer's ink, on an ordinary press, and at the same time absolutely reliable in the ren- dering of detail, of the general effect of light and shade, and of the relative value of the various colors involved. so CATALOGUE. The photo-mechanical processes — so called because, al- though based on photography^ their final products are a result of the press, which is a mechanical contrivance — represent the nearest approach to the realization of this ideal yet devised, even if they do not wholly reach it. Aside from the uniformity of texture from which all these processes suffer, the chief difficulty in the way is that they still rely too much on human skill and human judgment. This is due, partly to photography itself, which yields negatives of different degrees of perfection and which, therefore, must be corrected, and partly to the operations which follow photography, such as etching, — the success of which depends entirely on the skill and the judgment of the etcher, — and retouching by the hands of the engraver, which nearly all blocks and plates have to undergo before they are ready for the press. The process of the future — or at least the ideal process which is kept steadily in view, although it may never be reached — will do away with all these disturbing elements, and will be as strictly a scientific operation as a demonstration in chemistry. But even conceding these limitations, it must be acknowl- edged that the results obtained by the photo-mechanical processes are wonderful, and that, by the reproduction and dissemination of the works of nature as well as of art, they have become a powerful and beneficent factor in the intellectual life of our time. The technical aim, then, of the processes under consid- eration is the production of blocks and plates which shall practically be precisely the same as the blocks and plates produced by the old hand processes illustrated in division A of this exhibition That the aim has been reached is conclusively shown by the photo-mechanical process blocks and plates here brought together: — a photo-me- chanical relief-block, intaglio plate, or planographic print- ing surface, differs intrinsically, as far as fundamental technical principles are concerned, in nothing from the same kind of blocks, plates, and surfaces produced by hand. But to these latter the photo-mechanical processes have added several new varieties, which, although they may also be ranged under the different headings of relief, intaglio, and planographic surfaces, yet differ from the D. THE PHOTO-MECHANICAL PROCESSES, 51 older processes in the nature of the printing forms used. These are : for relief blocks, the glue-type, made of hard- ened gelatine ; for intaglio plates, the Woodburytype, the printing-form for which consists of a metal plate with shallow cavities into which a solution of gelatine colored with a pigment is poured, instead of printing-ink ; and for planographic printing, the collographic processes, which use printing surfaces of gelatine, so treated that they will take the ink in certain parts, while they will reject it in others. Most of these results are illustrated in the exhibition, and will be spoken of more in detail in their proper places. The photo-mechanical processes at present in successful operation are almost wholly based upon the properties of certain resinous and glutinous substances, and the changes which they may be made to undergo under the influence of light. These substances are : asphaltum, albumen, and gelatine. If asphaltum is spread in a thin layer on any surface, and is then exposed to light for a sufficient length of time, it becomes insoluble in its usual solvents, such as turpen- tine or benzine. If, therefore, a metal plate is coated with asphaltum in solution, and, after it has dried, is exposed under a printing screen, either negative or positive, the parts under the clear portions of the screen, which trans- mit the light, will become insoluble, while those under the dense portions, which do not transmit the light, will remain soluble. If the plate is now washed with one of the solvents of asphaltum, those parts of it which have re- mained soluble will be removed, while the hardened parts will remain. It is self-evident that the plate in this condi- tion may be etched, the asphaltum remaining on it serving as an etching ground, and that the result will be a relief block, if the black parts of the design were hardened (under a negative), or an intaglio plate, if the whites were hardened (under a positive). Albumen^ or white of egg, is soluble in cold water, even after it has been allowed to dry. If it is mixed with a solution of potassium bichromate, spread out on a surface, and then dried, it still remains soluble in cold water, so long as it is not exposed to light. On exposure to light, however, it loses its solubility. Albumen, therefore, mixed 52 CATALOGUE, with potassium bichromate, acts like asphaltum, and may be used like it, with certain modifications in the manipulation. The uses of gelatine are more complex. Gelatine, which is glue in a purified form, swells in cold and dissolves in hot water. On cooling it assumes the consistency of jelly, and finally dries out and hardens again. There are various qualities of gelatine, some harder, some softer, which show these properties in various degrees, and the kind of gelatine used is adapted to the work to be done. If gelatine is mixed with potassium bichromate, it retains its original qualities while wet, and even after drying, if kept in the dark. On exposure to light, however, it loses them, that is to say, it will no longer swell in cold or dissolve in hot water. From this change in the nature of the gelatine, various other results follow. For instance, gelatine in its normal state, if made to adhere to an unyielding surface and then swelled, assumes a reticulated grain, but it loses the faculty of reticulating in exact proportion to the degree of exposure to light which it has undergone. Again, the unchanged gelatine has no power of resistance to mor- dants, such as are used for etching, but, bichromatized and exposed to light, it acquires this power, in proportion to the degree of exposure. In a similar manner it may be rendered capable of accepting printing ink while in a moist state, the parts most hardened accepting the most of it, while those that have been protected from the light reject it. Finally, it becomes capable of resisting the impact of sharp bodies, like grains of sand in the sandblast, the degree of resistance again corresponding to the degree of exposure to the light. All these pecuHarities have been made use of in the processes under consideration. The chemical process involved in the action of light on asphaltum, and on albumen and gelatine mixed with a chromate seems to be one of oxidation, the asphaltum appropriating oxygen directly from the air, the glutinous substances being affected by the oxygen liberated by the reduction of chromic acid to chromic oxide which takes place when a chromate is exposed to the Hght in the presence of organic substances. Instead of potassium bichromate any other chromate may be used, the base of which does not precipitate gelatine. Ammonium bichro- D, THE PHOTO-MECHANICAL PROCESSES. 53 mate is frequently substituted for the potassium salt, where greater sensitiveness to light is considered an offset to in- creased cost. It has been said that the highest aim of the photo- mechanical processes is to convert a photograph from any natural scene, or from a painting, into a printable block or plate, without the intervention of designer or engraver. When the infinite variety of flat and gradated tints in such photographs, etc., is considered, and when it is furthermore borne in mind that flat tints of different value and gradated tints can be produced in the press only by means of lines or dots of varying size and placed at various distances from one another, the difficulties in the way will become apparent at once. It is easy enough to understand the reproduction of drawings in lines or dots by these processes, and even the rendering of flat and gradated tints by some of the photo-etching processes which imitate mezzotint or aquatint, does not offer special difficulties. But the matter assumes quite another aspect when it comes to making a relief block, to be printed in the type-press, from a photo- graph from nature, a painting, or a washed drawing. Tech- nically considered, the photo-mechanical processes achieve their greatest triumph in the production of such blocks, and it must be said that their success is astonishing, even when looked at from a purely artistic point of view, in spite of the fact that the unavoidable uniformity of texture tells more unpleasantly here than in other processes, and that these so-called "half-tone" processes cannot render white, except by the aid of artifices outside of their proper sphere. It is self-evident that, in order to be able to pro- duce a " half-tone block, the flat and gradated tints must be broken up into corresponding masses of lines and dots, but it would be impossible to enter into a detailed descrip- tion of the various means proposed for the accomplish- ment of this end. All that can be said is that the method almost universally employed to-day, involves the interposi- tion of a lined or grained screen between the sensitive plate and the photograph, painting, or drawing to be copied. Careful study of the technical exhibits which show the various stages in the making of such blocks will throw at least some light upon the subject. It may be said, how- 54 CATALOGUE. ever, that practice, in this case as in so many others, is ahead of theory, and that no thoroughly lucid and incon- testable explanation of the phenomena involved has as yet been given. As very many of the processes in daily operation for the production of relief blocks are etching processes, and as the tendency is growing to give them the preference, mainly for commercial reasons, the importance of the etcher deserves a word here. Etching is a difficult enough oper- ation, even in the simple manner in which it is used by the painter-etcher, but this is as nothing compared to the difficulties of process-etching for relief work. The prob- lem is, to etch the closest as well as the more open work to a sufficient depth to prevent the ink from filling up the spaces between the lines, and at the same time to leave each line with a solid foot, increasing in thickness down- ward, so that it may not break down under pressure. These necessities have developed a system of etching, — first practiced, so far as is known, by Gillot (see p. 33), — which involves an extraordinary amount of care and skill. It will not do, as in the case of ordinary etching, to bite, take a proof, and then, if need be, lay a rebiting ground merely on the surface and bite again. Not only the sur- face of the lines must be protected, but their sides as well, and this in corresponding progression as the biting pro- gresses in depth. To this end the blocks are rolled up between the various stages of etching with a special kind of ink etching ink'') and powdered with resinous sub- stances, commonly dragon's blood, and these are melted on by heat, gradually allowing the resin to coat the sides downward, and then filling up the finer parts of the work, until at last only the largest whites are left exposed for a final etching. The delicacy of this work can readily be estimated by examining the blocks exhibited. The nomenclature of the photo-mechanical processes, owing to the causes mentioned above (p. 32), is unfor- tunately in a most sorry state, so much so that the congress of photographers not long ago held in Paris made an attempt at regulating it. It is to be feared, however, that, so far as the trade is concerned, this and a similar attempt made in Germany, will have no effect. Many of the D. THE PHOTO-MECHANICAL PROCESSES. 55 names in vogue will be found mentioned in connection with the specimens shown. The history of the photo-mechanical processes goes back to the year 18 13, when Joseph Nicephore Niepce began his experiments with resinous substances. The year 18 14 is usually named, but Niepce de Saint Victor, the nephew of J. N. Niepce, distinctly says 18 13. A plate made by him in 1824, an impression from which is shown in this exhibition (see No. 391), is the oldest known piece of photo-mechanical process work still in existence. The publication of Mungo Ponton's experiments with potas- sium bichromate, in 1839, t>e looked upon as the starting point of the later processes involving the use of gelatine and bichromate. Many experiments were made to transform daguerreotypes into printable plates by etching, without, however, leading to practical results. The first experiments in photolithography were made by Dixon in America and Lewis in Ireland in 1841 and by Zurcher, of Paris, in 1842. In 1852 Lemercier, Lerebours, Barreswill and Davanne began to work their asphaltum process on stone, and a similar process, by Macpherson, was patented in England. In the same year Fox Talbot took out his first patent for producing intaglio plates, with bichromated gelatine as a " resist." About the same time Niepce de St. Victor, Mante, Baldus, Negre and others in Paris pro- duced similar plates in France, using asphaltum. In 1854 Paul Pretsch patented his process, based on the reticula- tion of gelatine, and shortly afterwards established the " Photo-Galvanographic Co." in London. In 1855 Poite- vin, of Paris, took out a patent for a swell gelatine pro- cess for making intaglio and relief plates, and another for photolithography which he sold to Lemercier in 1857. In the year following another photolithographic process was patented by Cutting & Bradford, of Boston. All these processes, with several others, strove to produce half-tone on stone, but did not succeed sufficiently to be of practical value. The first really useful photolithographic process, distinctly limited to the reproduction of line-work, was that invented by J. W. Osborne, then of Melbourne, in 1859. A similar process was invented about the same time by Sir Henry James, of England. CATALOGUE, The earliest extended commercial application of pho- tography to the production of relief -blocks is said to have been made by Lefman, of Paris. The first conception of the collographic process and of the Woodburytype is claimed by Poitevin, but it was left to Tessie du Motay, of Paris, Husnik, of Vienna, Albert and Obernetter, of Munich, and Ernest Edwards, then of England, to make the former practically useful, while the latter came into notice only from the date of Woodbury's patent, taken out in 1864. Since that time the activity in this department of human research and invention has assumed such enormous dimen- sions that it is impossible to compress the facts into a small compass. The most important events of the inter- vening period were the invention, by F. E. Ives, of Phila- delphia, of a process, introduced commercially in 188 1, by which half-tone photographs, etc., were transformed into dots by mechanical means, and that of the Meisenbach process, patented in 1882, which was the first screen process successfully used on a large scale in the produc- tion of half-tone blocks. Nearly all the important steps in the history of the photo-mechanical processes are illustrated in the present exhibition, thanks to the courtesy of the officers of the U. S. National Museum (Smithsonian Institution), by whose permission most of the early specimens here shown were brought on from Washington. The order followed in the arrangement of this division of the exhibition differs from that of the other divisions. The technical illustrations — the means used in the various photo-mechanical processes — have been grouped together at the beginning, so far as they can be shown at all ; and of the results, those attained by the intaglio processes are placed first, while the planographic processes occupy the second position, and the relief processes the third and last. This is in accordance with the historical development. D, THE PHOTO-MECHANICAL PROCESSES. I. TECHNICAL METHODS. The following illustrations comprise only the leading processes, and more especially those at present in success- ful operation. Of intaglio processes {a.), the reproduction of simple line work by etching is shown (only by a plate, how- ever), with two varieties of the method for the production of half-tone plates (from photographs, etc.), which involves the use of an aquatint ground, and which may, therefore, be conveniently named " photo-aquatint." There are other methods, which employ swelled gelatine films for line work, and hardened wash-out films mixed with gritty substances, or films in which the reticulation of the gelatine is utilized, for half-tone work. The printing plate, in these cases, is obtained by moulding or electrotyping. Some of these will be briefly discussed in connection with the specimens illustrating them shown under " Results." The Woodbury- type is also illustrated under this heading. The piano- graphic processes (b,) are represented by photolithography and by the several varieties of the collographic process. Photolithography (and photozincography, which is in reality the same thing) may be divided, as to the originals to be reproduced, into line processes and half-tone processes, and as to the technical method used, into direct processes and transfer processes. In the direct processes, the sensi- tive material is spread directly upon the stone or zinc plate, and these latter are exposed in the camera, or under a negative or positive, according to the special variety of the process. In the transfer processes, the image is first produced on paper, and from this it is transferred to stone or zinc. Only one of these many possibilities is illustrated here, by the Osborne Process," which is a line-transfer pro- cess. Some specimens of the photolithographic half-tone processes, early as well as late, will be found among the Results." In the collographic process, one of the great- est difficulties involved is the treatment of the glutinous film used as the printing surface, so as to enable it to stand a tolerably large edition. The early workers suffered from the tearing away of the films from their support. It was CATALOGUE, essayed, therefore, to attach them firmly to glass as well as to metal, and also to use them loose. Printing films of all these three varieties are shown here. The relief processes may again be classified, both as to originals to be reproduced, whether in lines or half-tone, and as to meth- ods used. Of the latter there are three, — the etching process, the swell-gelatine, and the wash-out process, all of which are illustrated here in their application to line work. Of the various methods devised to reproduce half-tone, only two are shown, the relief-aquatint process mezzo- type " ) and a screen-process. The former is sufficiently outlined below. The chief point of interest in the screen processes is the production of a half-tone negative in which the flat tints and continuous gradations from black through grays to white of an ordinary photograph from nature or from a painting, etc., are transformed into masses of dots or lines, which shall be uniformly black, and yet reproduce the gradations of the original by difference in size and apparent difference in distance, although the dis- tance from center to center is always the same. This neg- ative once produced, it is in the choice of the operator to use either the etching, the swell-gelatine, or the wash-out process for the making of the relief block. Only one of the various screen processes devised is illustrated here. These varieties differ not only in the manner of using the screen, but also in the pattern of the latter, whether simply lined, or cross-lined, stippled, grained, etc. According to the character of the work to be done the screens may vary also in fineness, that is to say, in the number of lines, etc., to the inch. A third method of producing the needed neg- ative by the intervention of mechanical means, is shown only in its results. See the original *' Ives Process," No. 703. The explanations given are again of the most ele- mentary kind, their aim being simply to elucidate the broad principles underlying the various processes, without enter- ing into minute details of manipulation. It will be well, however, to bear in mind that these details are of the first importance to the practical worker, as upon them depends the economical and sure application of the principles. D. THE PHOTO-MECHANICAL PROCESSES, 59 I. The materials used. 364. Asphaltum in the crude state. For use it is purified by washing with ether, and dissolved in benzole. The solution is stained black, to make it more easily visible on the plates in the thin layers in which it is applied. 365. Albumen. The shell of an egg is shown, as a reminder of the best known source of albumen. 366. Gelatine in sheets and in shreds. 367. Potassium bichromate. 2. The properties of gelatine. As before stated (p. 51), the part played by asphaltum and albumen in the photo-mechanical processes is quite simple. The more complex action of gelatine is elucidated by the plaster moulds and the cast here shown. No. 368 is a mould made from a swelled gelatine relief. This relief was obtained by exposing a film of gelatine, of appreciable thickness, mixed with potassium bichromate, to the action of light under an ordinary negative made from nature. After exposure, the film was soaked in cold water, so as to cause the unaltered gelatine to swell. The result was a relief which was highest in those of its parts corresponding to the lights in the original, while the parts corresponding to the blacks were lowest, and the intermediate shades be- tween white and black were represented by proportionately intermediate elevations. In the mould these relations must self-evidently be reversed, so that the parts represent- ing the lights are lowest, while those representing the blacks are highest. The second mould, No. 369, is from a wash- out relief, obtained by the process employed in pigment- printing. In this case, the bichromatized gelatine film, which again was of appreciable thickness, having been exposed under a negative and then transferred to another support (see p. 45), was treated with hot water, which dissolved the unaltered gelatine, or in other words those parts of the film which had been protected from the action of the light by the negative, and which therefore corres- ponded to the lights of the original. It follows that, in the hardened wash-out relief thus obtained, the high lights must be represented by the lowest parts, while the highest parts correspond to the deepest blacks of the original. The cast, No. 369, made from the mould No. 368, is natu- 6o CATALOGUE. rally an exact counterpart of the gelatine relief itself. For other moulds from swell-gelatine reliefs, see No. 373 c, from a half-tone, of very slight elevation, and No.. 383 e, from a relief in lines and dots, and very pronounced. 368. Plaster mould, from a swelled gelatine relief, with a silver print from the negative under which the film was exposed. 369. Plaster mould, made from a wash-out relief. 370. Plaster cast, made from the mould, No. 369. (a.) INTAGLIO PROCESSES. 3. Photogravure in lines. The simplest way to make an intaglio plate, to be printed on the roller-press like a plate engraved by hand or etched, from an original in pure black lines, is to cover a metal plate with asphaltum or albumen mixed with a bichromate, and expose under a black and white positive. The parts of the coating under the clear spaces of the positive are hardened, those under the black lines, corresponding to the lines of the design, remain soluble. Washing the plate with a suitable sol- vent lays bare the metal under the lines, and the plate can then be etched, the hardened coating acting as a ^'resist'' to the mordant. Its powers of resistance can be increased by rolling up in ink (^^ etching ink") and powdering with some resinous substance, usually dragon's blood. 371. Photogravure plate, copper, from a drawing in lines, made by P. H. Mandel, with an impression from it. 4. Photo-aquatint, for the production of half-tone in- taglio plates from photographs from nature, paintings, etc. A dry aquatint ground is laid on a metal plate, and over this is mounted a gelatine negative film, made by the pig- ment-printing process (see p. 45). To obtain this negative film a reversed positive on glass has first to be made. The reason why this positive must be reversed will become clear when the nature of the manipulations in the pigment- printing process, which involve the turning of the film, are considered. The film mounted on the plate is a wash-out relief, thickest in those parts which are to show white in the impression from the plate, and gradually growing thin- D. THE PHOTO-MECHANICAL PROCESSES, 6i ner towards the darkest parts, where it is thinnest. The relief character of such a film is well shown by the positive on glass, No. 372 c, which was also made by the pigment- printing process. The film acts as a "resist" to the mor- dant, allowing it to pass freely in the thinnest parts, and less and less freely as it increases in thickness. If, how- ever, the film were mounted on the bare plate, and the biting then proceeded with, the result would be of no prac- tical use, as the plate would present merely shallow hol- lows, incaple of holding the ink, and which would therefore be wiped out in the attempt to clean the surface of the plate. This is, however, prevented by the aquatint ground, which allows the mordant to circulate only in the channels around the resinous particles of which it consists, and thus produces a grain, precisely as in ordinary aquatint- ing. The mordant used is perchloride of iron, \^^hich is a "still mordant," /. one which does not evolve bubbles of gas. An effervescent mordant cannot be used, as the bubbles rising under the film would tear it up. In biting, successive baths of varying strength are used. A strong solution of perchloride of iron penetrates only the thinner parts of the film, whereas a weaker acts also through the thicker parts. The biting, therefore, begins with a strong solution, which acts only in the darkest parts, and is fol- lowed up with weaker and weaker solutions, which con- tinue the biting in the darks and at the same time carry it on gradually towards the lights. If necessary, the plate is worked over with the burnisher to brighten the lights, and with roulettes, etc., to strengthen the darks. 372. Photo-aquatint from a group from life. — {a.) The origi- nal negative from life. — (^b.) Silver print from the negative. — {c.) The reversed positive on glass. — {d.) The bare copper plate. — (^.) The cop- per plate with the aquatint ground laid upon it. (The next step would be the copper plate with the aquatint ground on it, and the reversed negative gelatine relief mounted over it, ready for biting, but this stage is not shown.) — (/.) The finished plate. — (g.) A proof from the plate, "off the acid," i. e., bitten only, without any retouching. — (h.) A proof from the plate partly gone over by the engi-aver. — (f." A proof from the finished plate. The finishing is confined principally to clearing the lights by burnishing. — The N. V. Photogravure Co.^ New York. [Four photogravures made by this process are shown in the upper case. See also Nos. 472-485.] 62 CATALOGUE. 5. Photo-aquatint ("Photogravure Gilbo'^). This process differs from the one previously described in the nature of the film used as a " resist," and by the manner in which the gradations are obtained in biting. Whereas in the former process, the film is a hardened wash-out gela- tine relief., mounted on the plate over an aquatint ground, by transferring from a temporary support, in the present case it is a swell-gelatine relief formed on the plate itself, by exposure under a positive, and the aquatint ground is laid on top of the film. The mordant, again perchloride of iron (or nitrate of silver), as a matter of course, pene- trates more readily through the unaltered gelatine, /. e.^ the swelled parts of the relief, the resistance increasing with the effect of the action of light, until, where the exposure has been longest and there is no swelling, it is practically com- plete. To obtain the lighter shades upon the plate, a film is formed on it with a fine aquatint ground, and the etching begun with weak solutions. The film is then removed and a proof taken. A second film is now formed on the plate, a somewhat coarser aquatint ground is laid over it, and the biting is repeated with stronger solutions, which leave the most delicate shades as they were obtained by the first biting, but increase the depth of the middle tints. The operation is repeated a third time, with a still coarser aquatint ground, and still stronger solutions, 10 give the final strengthening of the blacks. If necessary this sequence of operations may, of course, be continued until the effect desired has been reached. The plate is com- pleted by burnishing, rouletting, etc., as before. 373. Photo-aquatint from a portrait from life. — The original negative from life. — (^b.) Silver print from the negative. — {c.y The positive made from under which the films on the plate were ex- posed. — (^.) A gelatine film on a copper plate, to be used as the resist, but without the aquatint ground laid on top of it. (To be able to show this film it had to be washed out to remove the unaltered bichromate, as otherwise it could not have been exposed to light, with- out hardening uniformly throughout. In the ordinary course of oper- ations, when the plate goes into the bath for biting immediately aften exposure, this washing is dispensed with.) — (^.) A plaster mould, taker from the film {d'), to show that, in its swelled condition, it actually is a most delicate relief. — (/) The finished plate. — (^.) A proof after the first biting. — {h.) A proof after the second biting. — (2.) A proof D. THE PHOTO-MECHANICAL PROCESSES. 63 after the third biting. — (/^.) A proof from the finished plate. The plate has purposely been left without retouching of any kind whatso- ever, beyond repairing the light spots which show in the etching proofs, and which are attributed to lack of contact between the positive and the plate during exposure. — A. W. Elson dr* Co., Boston. [Four photogravures made by this process are shown in the upper case. See also Nos. 486-506.] 6. The Woodburytype, so named from the patentee, W. B. Woodbury. A hardened wash-out gelatine relief, produced under a negative by the pigment-printing proc- ess, is pressed into soft metal under hydraulic pres- sure. The result is a mould, in which the parts corres- ponding to the darks of the original are lowest and the lights highest, with elevations between them, proportionate to the intervening gradations from black to white. This mould serves as the printing form. After having been oiled, it is filled with a warm solution of gelatine holding some pigment in suspension, and a piece of paper is pressed against it until the gelatine has "set," /. solidi- fied. Upon the removal of the paper, the gelatine adheres to it, forming a delicate relief, which is hardened by chemi- cal means, so as to make the gelatine insoluble. In allusion to the relief-like character of the prints thus produced, the process has been called "photo-relief print- ing," but the term is misleading, as "relief printing" carries with it an entirely different signification of long standing (printing from relief-blocks). The printing form or mould used is, moreover, undoubtedly an intaglio plate, /. the ink-carrying cavities are sunk into it. The Woodburytype gives very beautiful results, but unfortu- nately the prints are apt to become brittle, from drying out, and to chip off. This seems to be more especially the case in America, owing, no doubt, to climatic influences. 374. A Woodburytype, from a portrait from life. — (^z.) A hardened gelatine relief film, from which the mould is made by pressing it into soft metal. (The film shown is, however, reversed as to right and left). — A printing mould made from a hardened gelatine relief. — (<:.) An impression from the mould {b.) — Woodbury Perma- nent Photographic Pri^iting Co., London. [See the Woodburytype in the upper case, and also Nos. 513-521.] 64 CATALOGUE, (b.) PLANOGRAPHIC PROCESSES. 7. Photolithography Osborne's Process"), applied to the reproduction of line work, from originals in purely black lines. A sheet of paper coated with albumen and gelatine sensitized by a bichromate, is exposed to the light under a black and white negative. After exposure the sheet is coated over its whole surface with transfer ink. In this condition it is floated on hot water, to coagulate the albumen, and is then washed with hot water, for the purpose of developing the image. The hot water dissolves the unchanged gelatine on those parts of the sheet corres- ponding to the whites of the design, and with it removes also the ink with which it was covered, while the lines of hardened gelatine, which correspond to the black lines of the design, are left on the paper, and retain the ink. A transfer to stone or zinc can now be made in the usual manner. 375. Photolithograph from a drawing. — {a^ The original draw- ing. — (^.) The black and white negative made from the drawing. — (<;.) Lithographic transfer paper, made by coating paper with albumen and gelatine, and sensitizing it with bichromate of potash. The upper, lighter-colored part represents the paper as it looks before exposure. It is hardly necessary to say that it is only an imitation, as the paper itself could not be exposed to light and yet kept in its original condi- tion. The lower, darker part is a piece of transfer paper as actually prepared. It shows the color which the sheet assumes under exposure. After the exposure, and before the sheet is inked, the design appears on it in brown lines on a yellow ground. — (^/.) The transfer sheet, after exposure, and inked, one-half of it developed. — (^.) The transfer sheet fully developed. — (/) The stone with the transfer on it. — (^.) An impression from the stone. — The N. V. Photogravure Co., New York, [Four photolithographs made by this process are shown in the upper case. See also Nos. 538-549.] 8. Collographic processes. A film of gelatine, mixed with a bichromate, is spread upon a glass plate, coated with a preliminary film consisting either of albumen, bichro- mated and exposed through the glass, or of a mixture of water glass (which is a soluble alkaline silicate) and albu- men, or of waterglass and stale beer. The object of these preliminary films is to form a substratum closely adhering D. THE PHOTO-MECHANICAL PROCESSES. 65 to the glass, to which, in its turn, the gelatine film can adhere. Or, instead of glass, a copperplate, slightly roughened, is used as a support for the gelatine film, in which case no preliminary coating is required. The bichromated gelatine film, whether on glass or on copper, is then exposed to the light under a reversed negative. Reversed negatives can be made either by stripping the collodion film from the glass, and turning and remount- ing it, or a mirror or prism may be placed before the objec- tive, and a reversed image reflected into it. The negatives used for making the printing films in these processes are generally mounted on gelatine films (see No. 322), partly for the sake of convenience, as it is necessary to preserve them, so as to be able to renew the printing film in case of accident or of long editions, and partly because they give better contact. After exposure, the printing film is washed, so as to remove the unaltered bichromate, as otherwise the whole film would harden uniformly in all its parts on exposure to light. A film so treated consists of gelatine in its normal condition in those parts representing the lights of the picture, of hardened gelatine in those representing the blacks, and of proportionately more or less hardened gela- tine in the gradations between white and black. It is, in fact, a swelled gelatine relief, or a film capable of being swelled into relief, in which, however, the relief is purposely kept as low as possible, so as not to interfere with the ink- ing. If such a film is moistened, and then rolled up in ink, it accepts the latter in due proportion on the blacks and grays uf the picture, and rejects it on the whites, like a lithographic stone, and the printing is, indeed, done on lithographic presses, both hand and steam, slightly altered. In a third modification of the process loose printing films of gelatine toughened by the admixture of alum are used, and the printing is done on platten presses, the moistened film being attached to temporary metal supports by atmos- pheric pressure. This form has, however, gone practically out of use. 376. Collographic process: Printing films on glass. From an oil painting. — {a.) The printing film, not rolled up. — {b.) The print- ing film rolled up in ink. — (<:.) An impression from the film. — The Art Publishing Co., Boston. 66 CATALOGUE. 377. Collographic process : Printing fihns on copper. Portrait from life. — {a.) The original negative from life.- — {b.) Silver print from the negative. — (<:.) Printing filmj not rolled up. — (. THE PHOTO-MECHANICAL PROCESSES. 67 10. The Etching process, for relief work in lines, ap- plied to quick newspaper work. The process is precisely the same as that described in the preceding paragraph, but the present exhibit illustrates the rapidity of which it is capable, and which makes it possible to give pictorial representations of the events of the previous day and even- ing, in the newspapers of next morning. As this involves night work, it is hardly necessary to say that the photo- graphic part of the operations is done by electric light. The subject represented is the Yale-Harvard foot-ball match played at Springfield on Nov. 21, 189 1. The drawing, based upon a small instantaneous photograph, was finished by evening, the negative was made by 10.30 p. M., and the block was ready for the printer by 12.30 a. m., Nov. 22. It appeared in the Boston "Morning Herald," of Nov. 22, 1891. 380. Newspaper Work. — {a?) The drawing. — (^.) The re- versed black and white negative. — (r.) The plate ready for printing. — (^/.) A proof from the plate. — (f.) The papier mache matrix used for casting the stereotype from which the block was printed in the " Her- ald." — (/!) An ordinary impression from the Herald " of Nov. 22, 1 89 1. — The Bostoft Engravuig Co.y Boston. 11. Photo-aquatint in relief (" Mezzotype "), for the reproduction of photographs from nature and other half- tone originals. This is simply the reversal of the photo- aquatint process as used for the production of intaglio plates The " resist " is a gelatine film and the grain is secured by an aquatint ground, but a reversed negative is used instead of a positive, so that the whites are bitten away instead of the blacks. 381. Mezzotype. — The fmished block with an impression from it. (The original was evidently an engraving, but in the reproduction the lines are broken up into a grain.) — The Art Publishing Co., Boston. 382. Mezzotype. — The finished block, with an impression from it. (The original was a line engraving, which was reproduced as such, except in the face, where the aquatint ground was utilized, as the print, from which the block had to be made, was weak in these parts.) — The Art Publishing Co., Boston. 12. The Swell-Gelatine Process, applied to the re- production of line work. A bichromatized gelatine film 68 CATALOGUE. is laid on a glass plate, and exposed under a black and white negative. After exposure, the film is soaked in water, which causes the lines that were protected by the black portions of the negative, and which correspond to the whites of the design, to swell up, while those lines which were not protected, and which correspond to the blacks, do not swell. The film in this condition represents a mould or matrix, and a cast taken from it could be used in the printing press, if the material of w^hich it is made were suf- ficiently hard. As this is not the case, however, another matrix has to be made from the first cast, and from this second matrix a stereotype is cast, w^hich is finished with the graver and routed where necessary, and mounted type- high on a wood-block. The difficulty in the swell-gelatine process, to be overcome only by great skill and experience, is the production of lines which are neither rounded nor concave, but perfectly flat on the surface. 383. Swell-gelatine relief block, from a drawing. — (^.) A drawing made upon a photograph, in imitation of an engraving, and the photograph then bleached out. — {b?) Black and white negative made from the drawing. — f ) Plaster cast from the swelled gelatine film made under the negative. The film itself is not shown. In the practical working of the process, this first cast is not made in plaster, but in a soft mass which every operator holds secret, although several recipes have been published. — \d.^ Stereotype made from a matrix obtained from the cast (r.j. — {e. ) The stereotype, routed and trimmed with the graver and mounted on the block, ready for printing. — (/) Impression from the rough stereotype (^/.). — (^.) Impression from the finished block. — The Moss Engraving Co., New York. [Four impressions from blocks made by this process are shown in the upper case. See also Nos. 673, 674, 688 and 689.] 13. The Wash-Out Process, applied to the reproduc- tion of line work. A thick film of bichromated gelatine is formed on a plate of glass. This film, after it has set, is transferred and cemented to a zinc plate, with the side that was next to the glass upw^ards. It is then exposed under a reversed black and white negative. The ex- posure hardens the gelatine film under the clear spaces of the negative, which represent the black lines of the origi- nal, but leaves it soluble under the dense parts, which represent the whites. The film is now treated with warm water so as to wash away the unchanged gelatine between Z>. THE PHOTO-MECHANICAL PROCESSES. 69 the hardened lines, leaving the latter standing in relief. As soon as sufficient depth has been obtained, the wash- ing away, or " development," is stopped. A film of this kind can be printed from, and this is actually done in the "gluetype" process (see No. 704). Usually, however, a wax mould is made from the film, and from this an electro- type. 384. Wash-out relief block, made from a wood-engraving. — (<2.) The wood-engraving used as the original. — (<^.) Reversed black and white negative made from the wood-engraving, reduced in size. — (r.) The gelatine film formed on glass. (The film shown is simply gel- atine, not mixed with bichromate.) — {^d^ The film transferred to zinc, exposed, and washed out. — (^.) Another washed-out film, filled in with white, to bring out the design. — (/) The electrotype made from the washed-out film. — (^.) Impression from the washed-out gelatine film. — (/^.) Impression from the electrotype. — The N. V. Engraving and Printing Co,, New York. 14. Screen processes for producing half-tone relief blocks. As before stated, the main point of interest in these processes is the making of the black and while half- lone negative, in which the flat tints and gradations of the original, which an ordinary negative translates into flat and continuous gradated tints of black and gray, are transformed into masses of black dots of equal density, gradated in size and grouped, apparently, closer together or farther apart, although always equidistant from center to center, so that, seen at a distance, they shall merge in the eye into flat tints and gradations answering to those of the original. The difference between an ordinary half- tone negative and a process half-tone negative will be best understood, if the former is considered as a washed India ink drawing, and the latter as a stipple drawing made from it with pen and ink. To reach this result a wet collodion plate is used in the camera, and before it, at a slight distance from it, is placed a glass screen ruled with fine black lines, in the process here illustrated, lines crossing one another. The rays of light reflected by the picture or other object to be photographed pass through the clear spaces of the screen on their way to the sensitive plate, while all light is cut off by the black hnes of the screen. It is evident that the image produced on the 70 CATALOGUE. plate must consist of isolated dots. As, however, the light falling through the minute apertures of the screen varies in intensity according to the lights and shades of the original, one would expect to obtain a picture in black dots and dots of different shades of gray between crossing white lines, but all of the same size. This is not the case, however. Where the light acts with greater force, that is to say in the w^hites and lighter shades of the picture, it overcomes to a certain extent the effect of the black lines of the screen, so that the whites run together, and leave only parts of these lines visible as black dots on a white ground. In the darker parts of the picture, on the con- trary, in proportion to the loss of intensity of the light reflected through the screen, the lines hold their own, and the gradations are formed by white dots on a black ground^ until, in the blacks, there is no action whatever. In the development of the latent image on the plate care is taken, as a matter of course, to bring it out fully and to increase the density of the deposit as much as may be without filling up the finer parts. The great difficulty in these processes is, so far as the rendering the values of the original is con- cerned, that they cannot produce white, a limitation which is perhaps too much emphasized in the reproduction of a scale of tints here shown. This reproduction has, however, been purposely left as the camera and flat etching produced it. By stopping out and continuing the etching in the lighter tints, without protecting the sides of the lines or dots, a greater range of tones might have been secured, and pure white might have been obtained by cutting away the grain between and around the various compartments. These artifices are, indeed, employed in the practical oper- ation of the process. It has been stated before, that, after the half-tone negative has been made, the block from it may be produced by either the etching, the swelling, or the wash-out process. All the blocks here shown were etched. 385. Half-tone relief block, from a scale of flat tints from black to white. — {a?\ The original from which the negative was made. — {b^ The screen used in making the negative. Black lines crossing one another, 124 lines to the inch. — (<;.) The half-tone negative. — {d.) The block made by means of the negative (^r.), etched on zinc. — (^.) Impression from the block. — M. Wolfe, Dayton^ O, D. THE PHOTO-MECHANICAL PROCESSES, 71 386. Half-tone relief block, made from a photograph from a painting. — (^?.) The reversed half-tone negative. — {b.) The block. Etched on copper. — {c.') Impression from the block. — The Art Pub- lishing Co., Boston. 387. Half-tone relief block, made from a portrait photograph from life. — (^.) The photograph (silver print). — {b.') The block. Etched on copper. — {c.) Impression from the block. — The Art Pub- lishing Co., Boston. 388. Half-tone relief block, made from a lithograph. — («.) The lithograph. — {b.) The block. Etched on copper. — (<:.) Impres- sion from the block. — The Art Publishing Co., Boston. 15. The Relief Processes applied to Color-Print- ing. The specimens shown illustrate the method of mak- ing prints in colors from half-tone originals, as well as from originals in line, by the processes described. For the print in colors, No. 389, the washed drawing which served as an original, was reproduced by screen process, and the color-blocks added are based essentially on the three-color theory, one having been printed in brown, which is dark yellow, and the other two in red and blue. The yellow frame does not enter into the color-scheme of the picture itself, being merely ornamental. In the making of the color blocks, the negative from the washed drawing served merely as a guide, or key, such parts of it being used for each block as the artist who directed the oper- ations deemed advisable. Some of the blocks are in aquatint, etched into relief. No. 390 is a much simpler specimen, the reproduction of a drawing in lines, to which a tint has been added from an aquatint rehef block. 389. Color-print from five blocks. — The original washed draw- ing, with the blocks, and a set of progressive proofs from them. The first impression is from the first block, the second from the second, the third from the first and second together, the fourth from the third block, the fifth from the first, second, and third together, and so on. — The Art Publishing Co., Boston. 390. Color-print from two blocks. — Only the proofs are shown, the first from the block reproducing the drawing, the second from the tint block, the third from both together. — The Art Publishing Co., Boston, 72 CATALOGUE, II. RESULTS. Intaglio Processes. I. Joseph Nicephore Niepce, the earliest investi- gator of the effect exercised by light upon asphaltum, with a view to the production of intaglio plates. Niepce coated his plates with asphaltum dissolved in oil of lavender, and exposed them under positives, /. under the prints, etc., which he tried to reproduce, or in the camera, and used the same oil as a solvent to develop the image after exposure. The specimen here shown, made from a print placed in contact with the plate, is one of a limited number of im- pressions taken in 1864 from the oldest plate of this kind still in existence. It was made in 1824 and is now pre- served in the museum at Chalon-sur-Saone. The metal is said to be tin. Niepce named his process "helio- graphy.'^ 391. Cardinal d' Amboise. From an engraving by Isaac Briot. 2. Henry Fox Talbot took out two patents in Eng- land, Oct. 29, 1852, and April 21, 1858, for making intaglio plates, involving the use of a bichromate with gelatine as the resist," and perchloride of platinum or of iron as the mordant. To give a grain to the plate, Talbot proposed a first exposure under woven fabrics or under a sheet of glass with opaque lines, to be followed by exposure under a positive, or the laying of a dry aquatint ground, either under or over the gelatine film. He also pointed out the use of baths of different strength in etching. The result- ing prints he called " photoglyphs." Nos. 392 and 393 are proofs given to J. W. Osborne by Talbot himself. No. 394 was published in the " Photographic News," of Nov. 12, 1858. All three are from negatives directly from the buildings, etc., represented. 392. Statue of Charles IV., Prague. 393. Temple of Edfou, Egypt. 394. The Institute of France. THE PHOTO-MECHANICAL PROCESSES. 73 3. Paul Pretsch was the first, so far as known, to make use of the grain resuhing from the reticulation of bichro- mated gelatine adhering to an unyielding surface, when swelled by the absorption of water after exposure to light. According to his English patent of Nov. 9, 1854, he mixed the bichromated gelatine with a solution of silver nitrate and of potassium iodide, exposed under a print, etc., or a positive, and then developed the picture, i, e.^ brought it into relief, by washing with cold water or a solution of borax or of carbonate of soda. From this gelatine film a printing plate was obtained by galvanic action. Pretsch therefore called his process " photo-galvanography," and the publishing company which he organized, the " Photo- Gal vanographic Co." All of the specimens here shown, except Nos. 396 and 400, are proofs given by Pretsch himself to J. W. Osborne, and several of them bear his signature. 395. Portrait of a Gentleman. From life. Apparently untouched by the graver. 396. Head of a Soldier. Fragment of a larger plate, " Crimean Heroes." From a photograph from life. Worked over with the rou- lette. 397. Hatfield House. South front. From a photograph. 398. Hatfield House. East front. From a photograph. The sky aquatinted. 399. Richmond on Thames. From a photograph. The sky ruled. Published by the Photo-Galvanographic Co., 1857. 400. The Capture of Knight Kuenringer. From a drawing by J. P. N. Geiger Published by the Photo-Galvanographic Co., 1857. 4. E. Baldus is mentioned by Niepce de St. Victor, in his " Traite pratique de gravure heliographique sur acier et sur verre," Paris : 1856, as using the asphaltum process, slightly modified, and etching his plates by means of elec- tricity. The specimens shown are from Blanquart-Evrard^s **La Photographic," Lille: 1869. 401. Force. From an engraving by Marcantonio. 402. Milon of Croton. From a marble group. 5. Alphonse Poitevin, — who claimed, and for whom his friends claim, the invention or the first suggestion of nearly every photographic and photo-mechanical process now in 74 CATALOGUE, use, and who certainly was quite prolific in ideas, although he developed but few of them to the stage of practical utiHty, — took out a French patent, on Aug. 27, 1855, for a swell-gelatine process, which he called " helioplastie." The printing plate was obtained by moulding, casting, and electrotyping, or by electro-deposition directly on the film. 403. Reproduction of an engraving. Made about 1855, and published as historical evidence in his " Traite de I'impression photo- graphique sans sels d'argent." Paris: 1862. The page of the book opposite the engraving, shown in the exhibition, gives an account of this process. 6. Henri Garnier is credited v/ith having worked several processes, one similar to the photo-aquatint process (see p. 60), the other involving the exposure of an iodized plate, amalgamating with mercury, rolling up in fatty ink, and etching. In 1867 he received the grand prize at the Expo- sition Universelle for his heliogravure of the " Chateau de Maintenon.'' The two specimens shown are from Blan- quart-Evrard's La Photographic,'' Lille : 1869. 404. Reproduction of an old document. 405. Stereoscopic view. From a photograph. 7. F. Hanfstaengl, Munich. 406. Male portrait. From an oil painting by N. Maas. 8. E. Albert, Munich. 407. Rembrandt's Wife. From an oil painting by Rembrandt. 408. Winter Landscape. From an oil painting by Sal. van Ruysdael. 409. Hutten fighting French Noblemen. From an oil painting by W. Lindenschmidt. 410. Landscape. From an oil painting by Paterson. 9. J. B. Obernetter, Munich. According to C. C. Schirm, as reported in Vogel's Mittheilungen,'' No. 367, p. 49, ^' Obernetter's heliogravure process produces the necessary depressions in the plate by causing a layer of silver chloride to corrode it." From this slight allusion, it is evident that Obernetter's process differs from all other processes in general practice. THE PHOTO-MECHANICAL PROCESSES, 75 411. Landscape. From an orthochromatic negative (azaline process) from nature. 412. Dog and Kennel. From an instantaneous photograph. 10. K. K. Militair-geographisches Institut, Vienna. 413. Venus nourishing Cupids. From C. Galle's engraving, after Rubens. 414. Bedouin Camp. From a drawing by L. C. Miiller. 415. The Emperor Maximilian's Bridal Procession. From a drawing by W. Koller. 416. At Cortina d'Ampezzo. From a watercolor by L. Pasini. 417. Christmas. From a drawing by G. Frank, after Waldmiiller. 418. The Ford. From a pencil drawing by L. Richter. 419. Italian Landscape. From a charcoal drawing by L. Neubert. 420. St. Elizabeth. From a painting by Liezen-Mayer. 421. Madonna and Child with Two Saints. From Steinmiiller's engraving, after Luini. 11. R. Paulussen, Vienna. 422. Charlotte Wolter. From a bust by V. Tilgner. 423. Elizabeth Waldmiiller. From an oil painting by Waldmiiller. 424. Anna Waldmiiller. From an oil painting by Waldmiiller. 425. The Cycle of Life. From a painting by J. Canon. 426. Apollo and the Muses. From a painting by E. Charlemont. 427. Horses. From a charcoal study by Ad. Schreyer. 12. C. Klic, Vienna. Photo-aquatints. Although the photo-aquatint process (see p. 60) dates back to Fox Tal- bot, the credit of having brought it to its present perfection is generally awarded to Klic, of Vienna. Such plates have, therefore, been called also " Klicotypes " (Klitschotypes). 428-432. The Five Senses. From paintings by Hans Makart. 433. Rock-Tomb at Pinara. From a photograph. 434. Triumphal Procession of Bacchus and Ariadne. From a relief by R. Weyr. 13. C. Haack, Vienna. 435. Portrait Study. From a drawing by Timoteo Viti. 14. J. Lowy, Vienna. 436. Portrait of F. Amerling. From an oil painting by himself, 437. Head of St. John. From an oil painting by R. von Wieser. 76 CATALOGUE. 15. H. Riffarth, Berlin. 438. Evening on the Nile. From a painting by W. Gentz. 439. Meeting of Two Caravans. From a painting by W. Gentz. 16. Photographische Gesellschaft, Berlin. 440. Family Group. From an oil painting by Rembrandt. 441. The Alchymist. From an oil painting by D. Teniers, Jr. 17. Reichsdruckerei, Berlin. 442-444. Studies by Raphael. From drawings in pen and ink, sanguin, and chalk heightened with white. 18. G. Scamoni, St. Petersburg. Scamoni's process, electroheliogravure," as described by him in his " Hand- buch der Heliographie/' St. Petersburg: 1872, was first conceived in 1861, and made practically available by about 1866. It can be used for the reproduction of line-work only, and is based upon the fact that collodion negatives, and consequently also collodion positives on glass show a perceptible relief. Such a positive from an engraving, made with a collodion of special quality, is so treated as to increase the relief of the lines as much as possible, and a plate is then made from it by electrodeposition. Con- siderable handwork is necessary to finish the plate. 445. Reproduction of a woodcut after L. Richter. 446. Reproduction of a line engraving. 19. Annan & Swan, Glasgow. The specimens ex- hibited show considerable retouching by means of the roulette, etc. 447. Robert Fulton. From a painting by Sharpies. 448. Washington's Mother. From a painting by Middleton. 20. A. Dawson, London. 449. 450. Reproductions of drawings. 21. The Autotype Co., London. 451. Cinderella. " Autogravure " from a watercolor by G. G, Manton. 22. Typographic Etching Co., London. 452. The Nave, Westminster Abbey. From a painting by A. Dawson, D. THE PHOTO-MECHANICAL PROCESSES, 77 23. Amand-Durand, Paris. The process used by this celebrated reproducer of the works of the old masters of engraving is said to be a refinement of the asphaltum process of Niepce and Niepce de St. Victor. 453. The Knight between Death and the Devil. From Diirer's engraving. 454. The CHmbers. From Marcantonio's engraving. 455. Juno. From Rembrandt's etching. 24. Boussod, Valadon & Co., Paris. This firm uses two intaglio processes, "photo-aquatint'' (see p. 60), and " photogravure." The latter is understood to be a deposit process, by which the printing plate is produced by means of electrodeposition on a Woodbury wash-out relief charged with gritty matter. Very careful and thoroughly artistic hand-finishing adds much to the beauty of the plates issued by this house. 456. Pierre Mignard. Reduction of Schmidt's engraving after Rigaud. 457. Scotch Bag-Piper. From a pen drawing with washes by Detaille. 458. Portrait of Madame Handebout-Lescot. From a pencil drawing by Ingres. 459. An Open Air Toilet. From a painting by Luke Fieldes. 460. Portrait of a man with a sword. From an oil painting. 461. Sarah Bernhardt. From hfe. 25. The Heliographic Engraving Co.. New York, of which F. von Egloffstein was the technical director, was probably the first concern which tried to introduce a pho- togravure process practically and on an extensive scale into the United States. As the specimens show, the pro- cess depends on the use of a lined screen, suggested by Talbot in 1852, or a "spectrum,'' as Egloffstein called it, and translated even line work (see the reproduction of the Dore woodcut, No. 463), by breaking the continuity of the lines. According to EglofTstein's patent of Nov. 21, 1865, a plate coated with a sensitive heliographic varnish," is first to be exposed under the "spectrum," and then under the negative (positive). "Both images are thus blended into one, the spectrum giving texture to the photographic image. Then may follow the ordinary heliographic manip- 78 CATALOGUE, ulations of developing the picture/' /. the etching of the plate. 462. Announcement of the Heliographic Engraving Co. With a view of the National Academy of Design, New York. 463. The Deluge. From a woodcut after Dore. 464. Portrait of a Gentleman. From a photograph. 465. A Bone. From a photograph. 466. A Piece of Machinery. From a photograph. 26. Louis Brown & Co., Philadelphia, are also to be reckoned among the earlier photo-engravers of the United States, as they were awarded a medal for their " autoplates'' by the American Institute in 1878. Details of process unknown. 467. Calendar for 1879. 27. Gebbie & Husson Co., Lim., Philadelphia. 468. The Thistle. From a photograph. 469. Diirer's House. From a drawing? 28. The Photo-Etching Co., Boston. 470. The Old Crawford House. From a photograph. 471. Diana. From a painting. 29. The N. Y. Photogravure Co., New York. For a description of the process employed and technically illustrated in this exhibition by the N. Y. Photogravure Co., see pp. 60 and 61. 472. Antique Worship. From an oil painting by V. Tojetti. 473. 474. Illustrations from " Elizabethan Songs," collected and illustrated by Edmund H. Garrett. Published by Little, Brown & Co. From washed drawings. 475. Girl Crowned with Laurel. From a painting. 476. Ponce-de-Leon. Gateway. From a photograph. 477. Ponce-de-Leon. Ladies' entrance. From a photograph. 478. Landscape. From nature. 479. Old Willows at Magnolia. From nature. 480. Lily Pond. From nature. 481. Moonlight on the Water. From nature. 482. The Walk in the Woods. From nature. 483. Portrait of F. P. Vinton. From hfe. 484. Portrait of J. Appleton Brown. From life. 485. Portrait of I. M. Gaugengigl. From life. D. THE PHOTO-MECHANICAL PROCESSES. 79 30. A. W. Elson & Co., Boston. For a description of the process generally employed by Messrs. A. W. Elson & Co. for the rendering of half-tone work, and technically illustrated by them in this exhibition, see p. 62. Another method used by them for the same purpose is a line pro- cess, similar to Egloffstein's (see Nos. 462-466), involving the use of a lined glass screen and two exposures of the sensitized film on the plate, one under the screen, and one under the half-tone positive (see below, Nos. 505 and 506). They name their plates photogravures Gilbo/' from Mr, Gilbo, the technical director of the firm. 486, 487. Reproductions of engravings. 488. Reproduction of an etching. 489. Landscape. From a charcoal drawing. 490. Reproduction of a pencil sketch. 491. Portrait of Wm. Lloyd Garrison. From a crayon drawing, 492-494. Reproductions of washed drawings. 495-498. Landscapes. From washed drawings. 499. Portrait of Franklin. From an oil painting attributed to Greuze. 500. Portrait of a Lady. From a black-and-white oil painting. 501-504. Portraits. From life. 505, 506. Two specimens of the line process mentioned above. 31. Photo-intaglio processes applied to color-print- ing. The proofs here exhibited, although showing a variety of colors, are each printed at one impression. The process is, in fact, a revival of that used in the 17 th and i8th centuries (see Division A, Nos. 218-226), that is to say, the plate is charged with the various colors of the original, — painted as it were, — and such finishing touches as are needed are added upon the proof by hand. A comparison of Nos. 507 and 508 will make the process quite clear. 507. Washington medal. Printed in brown only. By the Photogravure Co., Philadelphia. 508. Washington medal. Printed from the same plate as No. 507, but in two colors, at one impression. 509. Portrait from life, with ornamental border, printed in two colors, at one impression. By the N. Y. Photogravure Co. 510. Reproduction of a drawing, printed in two colors, at one impression. By A. W. Elson 6^ Co. 511. The Isle of Love. After Watteau. Printed in colors, at one impression. Retouched. Goupilgravure." By Boussod, Valadon ^ Co, 8o CATALOGUE. 512. Preparing for the Ball. After Doucet. Printed in colors, at one impression. Retouched. " Goupilgravure." By Boussod, Vala- don ^ Co, 32. Woodburytype. See the description of the pro- cess, p. 63, and the technical illustrations, No. 374 a-c. 513. A Mountain-Dew Girl. From life. A very early specimen, made by Woodbury himself, or under his supervision. . 514. Sir John Gilbert. From life, '^y Woodbury Permanent Photographic Printing Co.^ London. 515. The Beach at Shanklin. From nature. By the Woodbury Permanent Photographic Printirig Co,, London, 516. The Fisherman. From nature. By the London Stereo- scopic and Photographic Co. 517. Nothing in His Pockets. From a painting by Zamacois. By Goupil ^ Co,,, Paris, 518. Exposition Universelle. 1878. From a photograph. By " Sgap,^'' Paris. 519. F. de Lesseps. From life. By Pierre Patin, Paris. 520. Phcebe Mayflower. From a painting. By the American Photo-Relief Printing Co., Philadelphia. 33. Woodburytype applied to color-printing. To produce the effect of colored photographs, Woodburytypes are printed on a chromolithographic basis in flat tints. The tints are seen through the gelatine film, which latter supplies the modelling. The specimen here shown is not a color- print in the true sense of the word, the underprinting being in gold and silver only, but it suffices to illustrate the principle. 521. Marguerite de Bearn. From a repousse plaque. By " Sgap;' Paris. (Precede Vidal.) (b.) Planographic Processes. Photolithography and Zincography. I. Zurcher, Paris. Process invented in 1842, but all that is known concerning it is that the stones were exposed under the prints to be reproduced, or in the camera, the latter, apparently, for the production of half- tone. The two prints here shown are from Blanquart- Evrard's "La Photographic,'' Lille : 1869. 522, 523. Reproductions of Woodcuts, D. THE PHOTO-MECHANICAL PROCESSES. 8 1 2. Lemercier, Lerebours, Barreswill & Davanne, Paris. Process invented in 1852. A grained litho- graphic stone was coated with asphaltum dissolved in ether, exposed under a negative, developed by washing with ether, and then treated with acid and gum, as usual. The process was abandoned as the stones gave but few impressions. 524. The Door of a Romanesque Church. From a photograph. 3. Alphonse Poitevin. Process patented in 1855. A grained lithographic stone was covered with an albu- minous solution mixed with bichromate of potash, and ex- posed, after it had dried, under a negative. The picture was then developed, i. e.^ the unchanged albumen was washed away with cold water, and the stone treated with acid and gum as usual. According to one account, not only the white, but also the yolk of the egg was used in preparing the stone. Poitevin sold the process to Lemer- cier in 1857, who worked it for some time, but then aban- doned it. 525. Antique Gems. From a photograph. By Poitevin himself. 526. Sculptures in the lunette of a Gothic church door. From a photograph. By Lemercier. 527. Monument to Columbus. From a photograph. By Lemercier. 4. Lodowick H. Bradford, Boston (Cutting & Brad- ford). Process patented in 1858. A lithographic stone, grained for half-tone or polished for line work, was sensi- tized with gum arabic and a little sugar mixed with bichro- mate of potash, and exposed under a positive or in the camera. After exposure the unchanged gum was washed away, leaving the stone exposed in those parts which were to take the ink. It was then treated with soap water, rolled up in ink, and etched. The etching removed the hardened gum from the exposed parts. 528. Announcement. 1858. 529. Portrait from life. Exposed under a positive. 530. View in Boston. The stone exposed in the camera. 531. Statue of Franklin. The stone exposed in the camera. 5. P. Gibbons, who experimented in photolithography as early as 1859, tried various sensitizing media, such as 82 CATALOGUE, gelatine and bichromate, varnishes, and a mixture which consisted of copal varnish, raw linseed oil, bichromate of potash, Brunswick black, mastic varnish, and turpen- tine, ground up together." 532. Pius IX. From a photograph. February, 1861. The stone, when the copy shown was printed, had already yielded two thousand impressions. 533. Portrait of Andrew Mactear. February, 1863. 6. E. I. Asser, Amsterdam. Process invented 1859, patented in England in i860. A sheet of paper, unsized, or slightly sized with starch, was sensitized with bichro- mate of potash, and exposed under an ordinary negative. It was then washed, to remove the unaltered bichromate, dried and heated, then again moistened, rolled up in transfer ink, and a transfer made to stone, which was treated with acid and gum, as usual. Like all these early processes, although some fine things were produced by it, Asser's process never gave results of commercial value. It was worked for a while by Wm. Toovey and Simoneau & Toovey. 534. Seal. 1862. From a photograph. 535. Church of St. John, Brussels. From a photograph. By Simoneau & Toovey. 536. Palais de la Nation, Brussels. From a photograph. By Simoneau & Toovey. 7. Wm. Toovey, Brussels. The process subse- quently patented by Toovey was first suggested in 186 1 by Hannaford, of London. A sheet of paper was prepared with bichromate of potash and gum arabic, exposed under a negative, moistened, laid down on a lithographic stone, and pulled through the press without previous inking. The theory was that the unaltered gum would adhere to the stone and protect it from the ink in the rolling up which followed, while those parts of the stone corresponding to the altered gum, would accept the ink. The stone might then be etched as usual. The process is ingenious, but never gave really practical results. 537. Henricus Blesius Bovinatus. From an engraving. D, THE PHOTO-MECHANICAL PROCESSES. 83 8. John Walter Osborne. Line transfer process, invented at Melbourne in 1859, introduced into the United States in 1866, when the American Photolithographic Co. was organized in New York. Known as "Osborne's Process." See the description, p. 64, and the technical illustrations, Nos. 375 a-g, furnished by the N. Y. Photo- gravure Co. 538. The Golden Eagle. Reproduction of a woodcut. Early specimen made in Melbourne in 1859. 539-541. Three Views in Japan. From pen-and-ink drawings. Made in Berlin about 1861-62, for a work on Japan published by the Prussian government. 542. Portrait of a Man, made in Berlin about 1861-62, under an artificial negative (so-called " etching on glass "). 543. A page of the American Agriculturalist. Reduced. First specimen made in America, Dec. 14, 1866. 544. Reproduction of a wood-cut after Dore. 545. Extreme reduction of a wood-cut after Dore. 546-548. Reproductions of engravings. 549. Enlargement of an engraving. 9. Sir Henry James. Photozincographic line transfer process, similar to Osborne's process, and invented at the same time. James, however, experimented also with the production of grain, as shown by No. 551. 550. The Transfiguration. Reduction of an engraving. From Col. James's book on photozincography, pubHshed in 1862. 551. Theodolite Wagon. Photozincograph in grain, from nature. 10. The Heliotype Printing Co., Boston, line work, " Osborne's Process.'' 552. Reproduction of an etching. 553-555. Reproductions of drawings. 11. Sprague & Co., London. "Ink-Photos." A photolithographic half-tone process in which the reticula- tion of the gelatine is used for the production of the grain. 556-563. Eight views, portraits, etc., from photographs from nature. 12. James Ackerman, London. Photo-tint." Evi- dently a process similar to that used in the production of Sprague & Co.'s "ink-photos." 564. CoUeoni's Monument, at Venice. From a photograph. 84 CATALOGUE. 13. The Heliotype Printing Co., Boston, grain work. Transfers to stone from gelatine printing surfaces, exposed under negatives, and so treated that the gelatine assumes a reticulation or grain in proportion to the amount of light that has acted upon it. 565-566. Two sheets, with four reproductions of photographs and drawings. 14. J. Bartos, Bohemia. Bartostype." A stone or a zinc plate is coated with a varnish made of asphaltum and mastic. Upon the stone or plate so prepared a gela- tine wash-out relief, made by the pigment-printing process, is mounted and treated with a mixture of glycerin and water in which a small quantity of alum has been dis- solved. This relief is exposed to the sandblast, which destroys it, at first in its thinnest part and gradually also in its thicker parts. The destruction of the gelatine film lays bare the varnish, and allows the sandblast to act upon it in proportion to the gradations of the original from which the relief film was made. The result is a picture on the stone or plate in which the darks are represented by the varnish, the lights by the bare stone from which the varnish has been removed by the sandblast, and the gradations between the two extremes by the varnish more or less perforated by the blast. The stone or plate is now gummed, and after the varnish has been removed with turpentine, it is rolled up, and otherwise treated like a lithographic transfer. 567. Landscape, from nature. Bartostype on zinc. An iris tint has been added by a separate printing. 15. Photolithography applied to color-printing. Two methods of utilizing photolithography (and zincog- raphy) for color-printing are illustrated here. The first, of which No. 568 is a specimen, is merely a combination of ordinary chromolithography with photolithography, /. the requisite colors are printed from stones prepared by an artist, and upon this underprinting a photolithograph is printed. In the second a negative is made from the drawing, painting, object, etc., to be reproduced, and with this a photolithograph is prepared by any of the methods D, THE PHOTO-MECHANICAL PROCESSES. 85 described above. The negative serves the artist as a guide or key for making his colorstones, the combination of which is left entirely to his judgment. Or separate negatives may be made for each color, these negatives being worked upon by stopping out such parts as are not wanted and retouching others that need strengthening. From each of these negatives a photolithograph is made, and the picture results from the combined printings. 568. Osborne's Process. A photolithograph from a drawing, on a chromolithograph basis. 569-571. Heliotype Printing Co. " Aquarelletypes." Three monochromes from washed drawings, each printed from three stones, prepared by the same method as Nos. 565 and 566. 572-575. Heliotype Printing Co. " Aquarelletypes." Four re- productions of water-color paintings. No. 572, Six Views in Venice," after Rhoda Holmes Nichols, printed from 5 to 9 stones; No. 573, "The Giralda," after Hoppin, 5 stones; No. 574, "Scene in Holland," after F. Hopkinson Smith, 7 stones; No. 575, " Scene in Holland," after H. W. Rice, 5 stones. The stones prepared by the same method as Nos. 565 and 566. 576. Wezel & Naumann, Leipzig. Marine. Photo-chromo- zincograph, made from one negative. Printed in eighteen colors. 577> 578- H. Dorn, Leipzig. Two landscapes. Ingram's Proc- ess. See No. 57Q. 579. L. Prang & Co., Boston. "Prang's Photochromatic Proc- ess Prints." Japanese vessels from the Morse Collection. Ingram's process. (See Nos. 577 and 578.) "The printing design on the stone is developed from asphaltum exposed to light under a negative taken from the original objects represented." A set of progressive proofs from nine stones. COLLOGRAPHIC PROCESSES. The collographic processes have suffered more than any others from the mania for high-sounding nam 's. The prints resulting from them have been dubbed gelatine prints — which, being English and simplest, would be bet- ter even than collographs or collotypes — phototypes, helio- types, albertypes, autotypes, indotints, photophanes, glyp- tographs, and, worse than all, photogravures, this latter in the attempt to make them pass for what they are not, /. prints from intaglio plates. The beauty of the results here shown makes it evident that such deception is wholly unnecessary. See the technical illustrations, Nos. 376-378. 86 CATALOGUE. 16. E. Albert, Munich. 580. The Story of the Seven Ravens and the Faithful Sister. From water color drawings by Moritz von Schwind. One of Albert's earlier publications. 17. Albert Frisch, Berlin. 581. Four portrait studies. From pencil drawings by A. von Werner. 18. E. Bierstadt, New York. 582. Landscape, from nature, reproduced twice, from a common dry plate negative and from an orthochromatic negative made through an aurantia screen. 583. Oil painting. Two reproductions, the same as No. 582. 19. The Art Publishing Co., Boston. 584-586. Three specimens, from charcoal drawings. No. 585 is heightened with white by hand. 587-591. Five specimens, from drawings in crayon, pen-and-ink, etc. 592-599. Eight specimens, from watercolors and oil paintings. 600-605. Six specimens, from nature and plastic objects. 606, 607. Two specimens, portraits from life. 20. F. Gutekunst, Philadelphia. 608-614. Seven specimens, from paintings. 615. One specimen, from a Chinese bronze. 616, 617. Two specimens, from vessels in motion. 618-622. Five specimens, four portraits and one group from life. 21. The Gravure-Etching Co., Boston. 623-629. Seven specimens, from paintings by M. F. H. de Haas, T. Moran, J. G. Brown, L. Lhermitte, J. Wells Champney, J. J. Enne- king, and M. Theiry. 22. The Heliotype Printing Co., Boston. 630-632. Three specimens, from engravings. 633-635. Three specimens, from charcoal drawings. 636-638. Three specimens, from oil paintings. 639-644. Six specimens, from buildings. 23. The Collographic Processes applied to color- printing. Four possibilities for utilizing the collographic processes for color-printing are illustrated here: (i.) As D. THE PHOTO-MECHANICAL PROCESSES. 87 the gelatine film is rolled up for printing with two inks, a stronger and a weaker, supplied by two rollers, this pecul- iarity may be employed to produce prints with a tint at one impression. The stronger ink in that case is black (or brown, etc.), the weaker is of the color of the tint wanted. See Nos. 645-647. — (2.) A collographic im- pression may be printed on a chromolithographic basis in flat tints. See Nos. 648-653. — (3.) A collographic impression from a negative from the painting or other original to be reproduced may be combined with other impressions of the same kind, one for each color needed. The negatives for the films to be used for these impressions may be made from partial drawings executed on paper by an artist, like the drawings on stones for chromolithographs, or a separate negative may be made for each color, and the parts not wanted stopped out, while other parts may be strengthened by retouching. See Nos. 654-656. — (4.) The three-color theory may be employed with the aid of orthochromatic plates, one negative so treated that it is acted upon by all the rays except the blue, a second by all the rays except the yellow, a third by all the rays except the red. From these three negatives three printing films are made, and impressions from these, in blue, yellow, and red, are printed on top of one another, so that the three together produce the completed picture. To these three printings may be added a fourth, in black or brown, to strengthen the modelling. See Nos. 657-662. 645-647. Forbes Lithograph Manufacturing Co. Three spec- imens, one from a drawing, two from prints, in black and a tint, printed at one impression. 648-653. The Heliotype Printing Co. " Heliochromes." Six specimens, from buildings. Gelatine prints on a chromolithographic basis. 654. The Art Publishing Co. One specimen, from silver spoons. Five printings, the printing films for the tints made under negatives stopped out in the parts not wanted. 655- J. Lowy, Vienna. One specimen, from an oil-painting. This is a combination of photolithography and gelatine printing. Three stones, one for red, one for yellow, and one for blue, were made by means of three negatives stopped out accordingly, and to the combined impressions thus obtained were added several impressions from gelatine printing films for the rendering of the more delicate hues. The appear- ance of brush touches is due to embossing. 88 CATALOGUE, 656. Meissner & Buch, Leipzig. Marine. From a water- color. 657. E- Albert, Munich. Three proofs from three gelatine print- ing films, produced under negatives made with selective color-screens, as explained above, and intended to be printed on top of one another. The impression from the red plate is, however, printed in black. As Albert was one of the first to apply the three-color theory to gelatine printing, specimens of his work are particularly interesting. 658. 658a. E. Albert, Munich. Two landscapes from paintings, each printed in red, blue, and yellow, as above. The smaller of the two was published in 1878. The larger is out of register, and printed too strong in the red. 659. E. Bierstadt, New York. " Chromatotype." From an oil painting. Four printings, blue, yellow, red, and black. Negatives made through selective color-screens, as explained above. 660. E. Bierstadt, Nev7 York. "Chromatotype." From a water- color. Three printings, blue, yellow, and red. Negatives as under No. 659. No retouching on either negatives or prints. 661. 662. E. Bierstadt, New York. "Chromatotype." Two attempts at portraiture from life. Four printings, biue, yellow, red, and black. Four negatives at one sitting, made as under No. 659. (c.) RELIEF PROCESSES. In frame 97 are grouped together some specimens by early workers in Europe and in America, regardless of methods used or results reached. The other specimens are classified as reproductions of Work in lines, dots, etc., that is to say from originals such as pen drawings, pencil drawings, process drawings (see Division E), engravings, etc., which present lines or dots or an irregular grain on a light ground. Half-tone in grain, that is to say, reproduc- tions of half-tone originals by processes in which no screens are used, Sa een Processes, and Stipple Processes, which latter involve the breaking up of the flat and gradated tints of the original by mechanical means. Husnik's " gluetype " is placed by itself after these processes, by reason of the material used for the printing form. The appHcation of the relief-processes to color-printing concludes the division. I. Paul Pretsch, London. Pretsch's relief process is based on the same principle as his intaglio process (see p. 73), and covered by the same patent of 1854. All the specimens here shown were given by Pretsch himself D. THE PHOTO-MECHANICAL PROCESSES. 89 to Mr. J. W. Osborne, and the writing on No. 663, which is probably the earliest of the four, is also by him. It will be seen that it is distinctly claimed that the blocks from which these impressions were printed are absolutely untouched by the graver." 663. Reliquary. From a photograph from the object. 664. The Village of Rivabellosa. From a photograph from nature. 665. Pope's Villa on the Thames. From a photograph from nature. 666. Scene in Gaeta after the Explosion. From a photograph from nature. 2. Henri Garnier, Paris. See Nos. 404 and 405. The specimens here shown are from Blanquart-Evrard's " La Photographic," Lille : 1869. 667. Plafond du Louvre. From an engraving in line. 668. Vue du Baptistere Louis XIII. From a photograph. 3. Eduard Heidenhaus. " Photographotype." De- tails of process not known. 66g. Portrait of Ingres. From an etching by Masson. 1867. 4. Charles Henry, New York. Henry's process was a transfer line process. The original was copied on photo- lithographic transfer paper, by Osborne's process (see p. 64), transferred to zinc, and then etched into relief. 670. Reproduction of a woodcut, with Henry's announcement, 1868. 671. Reproduction of a woodcut after Dore. 1868. 5. The Actinic Engraving Co., New York. Details of process unknown. 672. Melanchthon. From Diirer's engraving. 1871. WORK IN LINES, DOTS, ETC. 6. The Moss Engraving Co., New York. Swell- gelatine process. See No. 383. 673. Six specimens, from drawings, engravings, and lace. 674. Ten specimens, from charcoal, crayon, and pencil drawings. 90 CATALOGUE, 7. The Photo-Engraving Co., New York. Etching process. 675. Three specimens, from drawings in lines. 8. The Art Publishing Co., Boston. Etching pro- cess. See No. 379. 676. Nine specimens, from drawings in lines and on grained paper. 9. Crosscup & West, Philadelphia. Etching pro- cess. 677. Three specimens, from drawing on grained paper, from wood-engraving, and from lace. 10. The C. L. Wright Gravure Co., New York. Etching process. 678. Six specimens, from pencil drawings. The impressions shown, on Japan paper, were printed on the steam press for Messrs. Bates, Kimball & Guild. HALF-TONE IN GRAIN. 11. Pennington & Co., Philadelphia. These speci- mens are interesting as representing a rather early, al- though not very successful, attempt to produce work of this kind in the U. S. Details of process not known. 679. Four specimens, from photographs from nature. 12. The Art Publishing Co., Boston. "Mezzo- types." See Nos. 381 and 382. 680. Five specimens, four from architectural subjects, one from a drawing. 13. French Work. Probably photo-aquatint in relief (" mezzotype," see Nos. 381 and 382) of a very fine grain. 681. From a painting. From " Salon lUustre. Societe des Artistes Franfais." Paris: 1890. SCREEN PROCESSES. 14. Moritz and Max Jaffe, Vienna. Patented in Austria, March i, 1877. To break up the fiat tints and gradations of the original, bolting cloth was placed before D. THE PHOTO-MECHANICAL PROCESSES. 91 the sensitive plate in the camera, or inserted between an ordinary negative and the sensitized plale on which the engraving was to be made. 682. Portrait. From life. Published in Eder's "Jahrbuch," from a block made in 1877. 15. Meisenbach, Munich. Process patented in 1882. The descriptions given of the manner in which the screen is used in the Meisenbach process vary, and it is quite likely that changes have been introduced since it was first made known. The present method seems to be to place a screen ruled with diagonal lines (not cross-lined) at a slight distance before the sensitized plate in the camera, and, after a short exposure, to turn the screen, or rather to substitute another for it, so that the lines on it run in the opposite direction, and to expose the plate a second time. 683. Portrait. From life. Block made by the etching process. From an announcement issued by the Meisenbach Co., London, in 1885. 16. Boussod, Valadon & Co., Paris. 684. Dogs. From a painting by De Penne. 17. Schweizer Autotyp-Anstalt, Winterthur. On the dry plates used, and sold to others, by this firm for the making of half-tone negatives for relief-blocks, a screen, either cross-lined or in grain, is developed by the usual photographic methods, and over this is laid another sensi- tive film, on which, by a subsequent exposure, the picture, scene, etc., to be made into a relief block, is photographed. The result is a " half-tone " negative, which can be used like those made by the other screen processes previously described. In this case, however, the screen, instead of being before and at a slight distance from the sensitive plate, is behind and in intimate contact with it. 685 Sample sheet, showing the various grades of grained and cross-lined screen dry plates made by this firm. 686. Two specimens, from a painting and from nature, made with the ^rrt;z;zi^^/ wSwiss screen dry plates. 687. Two specimens, from nature and from life, made with the cross-lined Swiss screen dry plates. 92 CATALOGUE, 18. The Moss Engraving Co., New York. "Moss- types." 688. Six specimens, from paintings and washed drawings. 689. Nine specimens, from nature and from life. 19. Photo-Engraving Co., New York. 690. Five specimens, two from engravings, one from a painting, two from nature. 20. The Boston Engraving Co., Boston. See No. 380. 691. Eight specimens, one from an engraving, one from a washed drawing, six from nature. 21. The Art Publishing Co., Boston. See Nos. 386-388. 692. Seven specimens, six from nature, one from a bust. 693. Six specimens, from nature. 694. Seven specimens, six from nature, one from a painting. 695. Three specimens, two from nature, one from a painting. 22. M. Wolfe, Dayton, O. See No. 385. 696. Eight specimens, from nature. All made with cross-line plates or screens similar to the one shown (No. 385<^), except the last, which was made according to Meisenbach's method, that is to say, with diagonally lined screens, turned, at two exposures. 23. The John Andrew & Son Co., Boston. See the frame hung on the wall, over case 106. 697. Nine specimens from washed drawings and from nature. 24. Crosscup & West, Philadelphia. " Ives Proc- ess." This is a screen process similar to those illustrated under Nos. 385-388, and must not be confounded with the earlier process of the same name, for which see No. 703. 698. Eight specimens from paintings and washed drawings. 699. Six specimens, views from nature. 700. Three specimens, two from sculpture, one from machinery. 701. Seven specimens, portraits and groups. 702. Seven specimens, from insects, etc. Z>. THE PHOTO-MECHANICAL PROCESSES, 93 STIPPLE PROCESSES. In these processes the property of gelatine in its natural state to absorb water and to swell up in consequence, and the fact that it loses this property, if it is mixed with a bichromate and exposed to light, in exact proportion to the amount of light that has acted upon it, is utilized. A swell-gelatine relief is made under a negative, and from this relief a cast in plaster of Paris. The gelatine relief was lowest in the parts corresponding to the darks, and highest in those corresponding to the lights of the picture. The cast, on the contrary, is highest in the darks and low- est in the lights. Such a cast, or rather mould, is exhibited under No. 368. Against it is pressed a gelatine film on a glass plate, which has been cut up into lines, or into dots by cross-lines, and has been charged on the surface of the lines or dots with printing ink. As this film comes into contact with the cast, the lines or dots, being elastic, are compressed in proportion to the height of the relief, and therefore produce on it larger and smaller black dots, while in the deepest parts, where the lines or dots cannot reach, the cast remains white. The result is that the white relief is covered with black dots which are largest in those parts of it corresponding to the blacks of the design, and grad- ually decrease in size as the gradations of the original approach white. From the cast so stippled, a black and white negative is made, which is used exactly as a negative made with a screen process would be used. This is the original " Ives Process,*' illustrated by the specimens here shown, under No. 703. It gave excellent results, as the specimens in question show, but it has been superseded by the screen processes. A similar process was invented by Petit, of France. He blackened a plaster cast from a swelled gelatine relief all over, and cut through its surface in parallel or crossing lines by a V-shaped point, travelling always in the same plane. The point cut a wider line in the highest parts of the blackened relief and therefore removed more of the black, whereas the lines grew nar- rower as the relief subsided, and solid blacks were left in its deepest parts, to which the point did not reach. It is 94 CATALOGUE, evident from this, that Petit must have made his relief under a positive, or else must have made a true cast from the mould first obtained from the relief. 25. Crosscup & West, Philadelphia. The original " Ives Process." 703. Twelve specimens, from drawings, paintings, and nature. 26. Husnik's Gluetype.'' A wash-out process, sim- ilar to that illustrated under No. 384, which produces printing blocks made of hardened gelatine. These blocks are said to be very durable and able to stand long editions. 704. Three specimens, printed from gluetype blocks made accord- ing to Husnik's patent. RELIEF PROCESSES APPLIED TO COLOR-PRINTING. See the technical illustrations, Nos. 389 and 390 (p. 71). 27. German work. 705. Six reproductions of chiaroscuros of the i6th and 17th cen- tury. From Hirth & Muther's " Meisterholzschnitte aus vier Jahrhun- derten." 28. The Art Publishing Co., Boston. 706. Nine specimens, by screen process and in mezzotype, from watercolor drawings and paintings. Two to four printings. 29. George L. Cowee, Boston. 707. Two specimens, from watercolor drawings. 30. W. Kurtz, New York. The blocks, from which the proofs shown were printed, were etched on zinc pre- pared with asphaltum, exposed under negatives made by the Meisenbach process. 708. Wild Boars, from an etching after Rosa Bonheur. Two printings. Impressions of each of the two blocks used, printed in black, are also shown. 709. Monkeys. From an oil painting. Two printings. E, PHOTO-MECHANICAL PROCESS WORK. 95 710. Eight specimens, reproductions of washed drawings. Two printings. 711. From a watercolor by CorelU. Printed in colors. 31. Boussod, Valadon & Co., Paris. "Chromo- typogravures." 712. Going to School. After Bouguereau. Two printings. 713. The Gallant Abbe. From a watercolor by Rossi. Six printings, 714. En Foret. — La Balangoire. — Les Derniers Retranche- ments. — Three plates from the " Figaro lUustre." Printed in colors. 715. Figaro lUustre, with the design for the cover (printed in six colors) , to show application to newspaper work. 716. Bringing up the Guns. From an oil painting by Gilbert Gaul. Printed in colors. 32. " Sgap," Paris. Photochromotypographie/' 717. A Rug. Printed in colors. 33. C. Angerer & Goschl, Vienna. 718. Landscape. Chiaroscuro in four printings. 34. Autotypie-Compagnie, Munich. Meisenbach process. 719. Oil Sketch after Kotschenreiter. Four printings. E. DRAWING FOR PHOTO-MECHANICAL PROCESS WORK. The necessity for a special kind of work, known as "process drawing," arose out of the fact that the photo- mechanical relief processes used for the reproduction of line work or of work in dots, must have originals, if success is to be assured, which are absolutely black in all their parts, without any admixture of grays. Some of the reproduc- tions shown in this exhibition (see No. 674 and 678, for instance) make it evident, indeed, that excellent results can be gotten even from pencil drawings, but while these will do for thoroughly artistic work, and where a sugges- tion is sufficient, the nicety of execution and clearness of g6 CATALOGUE. Statement more generally demanded cannot be attained unless the originals to be reproduced accommodate them- selves to the exigencies of the reproducing agency. In the light of the explanations given on the preceding pages, it will not be difficult to understand these exigencies. A negative, to give good results for relief work with either the etching, the swell-gelatine, or the wash-out process, must be simply black and white, that is to say, it must present perfectly clear glass in those parts which corres- pond to the lines of the design, and it must be absolutely black and dense in those which represent the whites between the lines. (For such negatives, see Nos. 323, 375^, 379^, 380^, 383^^, and 384^^.) Gray lines, however, can produce neither perfectly clear glass, nor perfect density. They will be represented in the negative by something between these extremes, that is to say, by a thinner deposit, which will neither cut off all the light, nor allow all of it to pass. The result, in such a case, must necessarily be one of three things : such gray lines will fail altogether in the reproduction, or they will be rotten, or, if they come up black and solid, they will be too heavy. In either case, the effect will be marred, and such beauty as the original may have had will be lost in the reproduction. The first consideration, therefore, which the process draughtsman must keep constantly in mind, is that all the lines of his drawing must be abso- lutely black, and that all gradations must be produced by difference in width of line and difference in spacing. Several drawings of this kind are to be found in this ex- hibition, besides the one shown in the present division (No. 725). Of these, Nos. 379^ and 380^ are free-hand drawings, while No. 383^ represents a style of work, in imitation of engraving, which is a peculiar product of photo-mechanical process draughtsmanship. (See a repro- duction of a very large drawing of this kind under No. 675). The drawing in question at the same time illustrates in another way a method of working much practiced for the purpose. It is executed on a faint photograph, which was bleached out after the drawing was finished. As, however, it is not always desirable to have drawings in line or in stipple executed with the pen or the point of the brush, a E, PROCESS DRA WING. 97 number of devices have been invented to enable the artists to make grained drawings quickly and at the same time with due regard to the prime requisite alluded to. These devices, — embossed and printed papers, " shading medi- ums/' etc., — are illustrated in this division. The repro- ductions from process drawings which have been added, may, perhaps, serve to show that the character of this class of work need not necessarily be inartistic. No doubt much of the process-drawing seen to day is utterly bad. It is to be hoped that, as the processes have evidently come to stay, a class of draughtsmen will be raised, who, while thoroughly acquainted with the needs and limitations of their work, will be at the same time thoroughly artistic. I. Embossed and printed papers. — Shading mediums. — Pasting tints. 720. Samples of embossed and printed papers, made by Chas. J. Ross, Burlington, N. J. 721. Drawings made on Ross's papers, with reproductions from them. 722. Samples of embossed and printed papers, made by Ben- jamin Day, New York. — Drawings made on such papers and repro- ductions from them. — Pasting tints ^ i. e., papers with lined and stippled tints printed on them, to be pasted on drawings for reproduction, where large spaces are to be uniformly shaded. (In a frame on the wall, over case 93.) 723. Day's rapid shading mediums. Representation and de- scription of the apparatus used. 724. Drawing made with Day's mediums, by Benjamin Day. The drawing itself was made on lithographic stone, and only an impres- sion from it is shown. But it might just as well have been made on paper, and therefore sufficiently illustrates the use that may be made of these mediums " for process drawing. 2. Process drawings, with the blocks made from them. 725. Drawing, " Beethoven," in absolutely black lines and masses, executed on Bristol board with pen and brush. — {a.) The drawing. — {b.) The block made from it. — {c.) Impression from the block. — The Art Publishing Co. 726. Drawing, cover for an exhibition catalogue, made with wax crayon on embossed and printed paper, the lights scraped. — {a.) The drawing. — (^.) The block made from it. — (<:.) Impression from the block. The Art Publishing Co, 98 CATALOGUE. 3. Reproductions of Process Drawings. 727. Study, after Daniel Huntington. Drawn by Chas. Mettais on embossed and printed paper, with wax crayon, the lights scraped. 728. Morning, after Wm. Rimmer. Drawn by Chas. Mettais, on printed paper, with wax crayon. 729. Head of an Italian. Drawn by T. W. Dewing, from his own painting, with wax crayon, on grained paper. 730. October. Drawn by H. Bolton Jones, from his own paint- ing, with wax crayon, on grained paper. 731. Portrait. Drawn by F. P. Vinton, from his own painting, with wax crayon, on grained paper. 732. Ideal Landscape, after M. G. Wheelock. Drawn by Ed- mund H. Garrett, with wax crayon, on grained paper. Scraping in the clouds. 733. Studio of Wm. M. Chase, from a sketch by him. Drawn by Chas. Mettais, with wax crayon, on grained paper. 734. Study, after Trumbull. Drawn by Chas. Mettais, with wax crayon, on grained paper. \ \