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| 1. |  | Unidentified photographer 1840s-1850s (ca) Daguerreotype colorist at work Daguerreotype Archives of Modern Conflict OR National Gallery of Canada Note the colouring kit visible in the photograph. |
| 2. |  | Unidentified photographer n.d. Daguerreotype coloring kit Colour image Archives of Modern Conflict OR National Gallery of Canada |
| 3. |  | Frederick Langenheim 1846, January (patent), 1847, February (published) 22. For an Improvement in Coloring Daguerreotype Plates, by fixing the Colors thereon Magazine page Google Books "22. For an Improvement in Coloring Daguerreotype Plates, by fixing the Colors thereon", American Patents, Journal of the Franklin Institute of the State of Pennsylvania, and American Repository, February, 1847, p.105. Patent was issued in January, 1846. 22. For an Improvement in Coloring Daguerreotype Plates, by fixing the Colors thereon; Frederick Langenheim, Philadelphia, Pennsylvania, January 30. The patentee says, "In the invention of Isenring, for coloring plates, for which letters patent have been obtained, a difficulty arose in making the colors adhere, and it was found in practice that after a little handling, the color came off, and the picture was thus defaced. To remedy that defect is the object of my improvement. "Either before the plate receives the color, or at the same time, I cause an impalpable powder of gum damarum,or other suitable resinous gum, to cover the parts to be colored, in the manner described in the patent granted to me as the assignee of Isenring, viz: by placing the plate in a close vessel, face up, with those parts covered that are not to be colored, and then filling the atmosphere contained in said vessel with the powder of gums above named, and allowing a sufficient quantity to settle, for the purpose intended : after the color is laid on the plates I submit it to a sufficient degree of heat to fuse the gum, which causes the color to adhere." Claim. "Having thus fully described my improvement, what I claim therein as new and desire to secure by letters patent, is fixing the colors on the plates by means of gum, applied substantially in the manner and for the purpose set forth." |
| 4. |  | Frederick Langenheim 1846, January (patent), 1847, February (published) 23. For an Improvement in Coloring Daguerreotype Plates Magazine page Google Books "23. For an Improvement in Coloring Daguerreotype Plates", American Patents, Journal of the Franklin Institute of the State of Pennsylvania, and American Repository, February, 1847, p.105-106. Patent was issued in January, 1846. 23. For an Improvement in Coloring Daguerreotype Plates; John B. Isenring, of Switzerland, assigned to Frederick Langenheim, Philadelphia, Pennsylvania, January 30. The patentee says, "The nature of my invention consists in coloring a daguerreotype picture by agitating a quantity of highly pulverized mineral, or other suitable color in a box, and then placing in said box the plate to be colored, having only such parts exposed as are to receive the color, the rest being covered by a stencil or other similar device, where it remains until the color settles upon it in sufficient quantities." Claim. "What I claim as my invention and desire to secure by letters patent, is the process of depositing the color thereon, substantially as herein described, by causing the finely pulverized particles of color to float in the air over where the plate is placed, which, as they settle, are deposited on the uncovered portions of the plate, in the manner and for the purpose herein described. "I also claim, in combination therewith, covering the picture with a stencil, as set forth, constructed in the manner and for the purpose described." |
| 5. |  | Unidentified photographer / artist 1890 (ca) French Walnut cased Photo Coloring Outfit Photo coloring outfit Stereographica - Antique Photographica Courtesy of Bryan and Page Ginns (#14 / 101) Includes bottles for coloring medium, oil paint tubes, domed cover glasses and other application tools and one completed Crystoleum. Each of the bottles has an illustration of a camera on a tripod. When closed the box measures 12.75" x 8.75" x 3". Please refer to Brian Coe's book, "Color Photography - The first hundred years 1840-1940" for more information on the Crystoleum process. |
| 6. |  | Felice Beato 1868 Our Chief Artist Albumen print, hand-coloured 8 11/16 x 6 11/16 ins J. Paul Getty Museum Partial gift from the Wilson Centre for Photography, 2007.26.182 |
| 7. |  | Felice Beato 1863 (or later) My Artists Carte de visite Private collection This carte de visite is of immense significance as it shows the Japanese colourists who worked for Felice Beato. There is a printed paper label pasted on the back - "My Artists." |
| 8. |  | Unidentified photographer 1897 A Japanese colorist at work Book illustration Private collection of Rob Oechsle Brinkley, Vol 1 pg vi Intro |
| 9. |  | T. Enami 1906-1910 (published) 676. Yokohama. Japanese Boys Coloring Pictures and Using Stereoscope Stereoview, color lithograph Private collection of Rob Oechsle Stereoview No. 676 shown above started out as an original, high-quality photographic view taken by T. ENAMI of Yokohama, Japan -- as many as 10 years before being printed in the USA as you see it here. The "Green Mount" version shown here was published by SEARS, ROEBUCK & CO between 1906-1910. (The "White Mount" versions were made only in 1905, and contained no descriptions on the back). Before Sears got their hands on it, it had already gone through many real-photo reprints by T.W. INGERSOLL, a large Mid-Western America stereoview publisher. Sears simply converted a real-photo version into a lithograph. The photograph was carefully retouched to brighten the faces, and their art department colored away (using hand applied tints) to their heart's desire --- according to every whim of their imagination. The particular backdrop he used here is one of a few that appear in formerly un-identified albumens tipped into important works such as Brinkley's 1897 "Japan: Described and Illustrated by the Japanese". |
| 10. |  | T. Enami 1895 (ca) Hand tinting photographs [T. Enami's studio in Yokohama, Japan] Carbon print, sepia-toned, black and white version Private collection of Rob Oechsle This version was published in British Sketch magazine, published in 1904. Note the wide variety of sizes of prints and stereoviews being colored. Colorists in larger studio could specialize in a specific range of colors. |
| 11. |  | Unidentified photographer 1895 (ca) Photo Colorists [Japan] Albumen print, hand-tinted Private collection of Rob Oechsle |
| 12. |  | John Thomson 1869-1871 A Chinese portrait artist, Hong Kong Glass negative, stereo, left half, cropped 10.5 x 21.5 cm (4 x 8 ins) approx. (full) Wellcome Collection L0055677 (based on) |
| 13. |  | John Thomson 1873-1874 (Published) A Hong-Kong Artist Book illustration Yale University, Beinecke Rare Book and Manuscript Library John Thomson, Illustrations of China and Its People, a Series of Two Hundred Photographs with Letterpress Description of the Places and People Represented, 4 vols. (London: Sampson Low, Marston Low, and Searle, 1873 [vols. 1 and 2] and 1874 [vols. 3 and 4]), Vol. 1 A Hong-Kong Artist Lumqua was a Chinese pupil of Chinnery, a noted foreign artist, who died at Macao in 1852. Lumqua produced a number of excellent works in oil, which are still copied by the painters in Hong-Kong and Canton. Had he lived in any other country he would have been the founder of a school of painting. In China his followers have failed to grasp the spirit of his art. They drudge with imitative servile toil, copying Lumqua's or Chinnery's pieces, or anything, no matter what, just because it has been finished and paid for within a given time, and at so much a square foot. There are a number of painters established in Hong-Kong, but they all do the same class of work, and have about the same tariff of prices, regulated according to the dimensions of the canvas. The occupation of these limners consists mainly of making enlarged copies of photographs. Each house employs a touter, who scours the shipping in the harbour with samples of the work, and finds many ready customers among the foreign sailors. These bargain to have Mary or Susan painted on as large a scale and at as small a price as possible, the work to be delivered framed and ready for sea probably within twenty-four hours. The painters divide their labour on the following plan. The apprentice confines himself to bodies and hands, while the master executes the physiognomy, and thus the work is got through with wonderful speed. Attractive colours are freely used; so that Jack's fair ideal appears at times in a sky-blue dress, over which a massive gold chain and other articles of jewellery are liberally hung. These pictures would be fair works of art were the drawing good, and the brilliant colours properly arranged; but all the distortions of the badly taken photographs are faithfully reproduced on an enlarged scale. The best works these painters do are pictures of native and foreign ships, which are wonderfully drawn. To enlarge a picture they draw squares over their canvas corresponding to the smaller squares into which they divide the picture to be copied. The miniature painters in Hong-Kong and Canton do some work on ivory that is as fine as the best ivory painting to be found among the natives of India, and fit to bear comparison with the old miniature painting of our own country, which photography has, now-a-days, in great measure superseded. |
| 14. |  | E.H. Train 1870-1875 Untitled (Studio of E.H. Train) Stereoview Stereoviews: Stereoviews and Fine 19th & 20th Century Antique Photographs Note all the equipment in this stereoview. The stand for holding a background, the different cameras, glass roof, head-rests and the lady presumably tinting or retouching photographs. (Aardwolf Hitchin, 22 January 2020) The child is Adah Train, the women is Phebe Train and the man is Edgar H. Train, I suppose the photo was taken by Oliver C. Bundy. |
| 15. |  | E.H. Train 1870-1875 Untitled (Studio of E.H. Train) Stereoview, detail Stereoviews: Stereoviews and Fine 19th & 20th Century Antique Photographs Note all the equipment in this stereoview. The stand for holding a background, the different cameras, glass roof, head-rests and the lady presumably tinting or retouching photographs. |
| 16. |  | Unidentified photographer 1880 (ca) A person tinting a photograph of James A. Garfield Tintype Private collection of Graham Pilecki James A. Garfield was elected President in 1880 and assassinated in 1881. |
| 17. |  | Ignac Sechtl 1870s [Double self portrait with Ignac Sechtl as a laboratory worker and a retoucher] Albumen print Sechtl & Vosecek Museum of Photography This photograph was taken before Ignac Sechtl moved to Tabor in 1876. [Information kindly provided by Muzeum fotografie Sechtl a Vosecek.] |
| 18. |  | Studio Fischer (Berlin) 1900 (ca) Advertisement for Studio Fischer, Berlin. Advert Private collection of Jan Weijers (Servatius) This advert includes a host of details on a late nineteenth century studio with the glass skylights, screens, retouching desk, cameras, chemicals and examples. It is particularly interesting that one of the examples at the bottom is an X-ray of a hand with rings looking similar to the one taken by Wilhelm Konrad Röntgen and another is of a solar eclipse. |
| 19. |  | Unidentified photographer / artist 1888 Fig.17 - Pupitre a retoucher [Retouching holder] Book illustration Private collection of Hans Christian Adam Published in "La photographie moderne" by Albert Londe (Paris: Masson, 1888), fig.17. |
| 20. |  | Unidentified photographer 1940s-1950s (ca) Retouching set Gelatin silver print Nationaal Archief of the Netherlands / National Archive of the Netherlands Spaarnestad Photo, fotonummer SFA002003392 Set of retouching tools for manipulating photographs (retouching ink, retouching paint, airbrush, etcetera). |
| 21. |  | Unidentified photographer / artist 1859 Advert for James Newman - Photographic colors Book page Google Books This advert is included in "The Principles and Practice of Harmonious Colouring, in Oil, Water, and Photographic Colours, especially as Applied to Photographs on Paper, Glass, and Silver-Plate" by an Artist Photographer (Second edition) This book was published in 1859 in London by W. Kent & Co., 51 & 52, Paternoster Row; and James Newman, 24, Soho Square, W. |
| 22. |  | Unidentified photographer / artist 1887 Advert for the New Acme Water Colors, Scovill Book page Google Books This advert appeared in the American Annual of Photography and Photographic Times, Almanac for 1887, Volume 1, 1887 (Entered, according to Act of Congress, in the year 1886) |
| 23. |  | 1892 The Acme Transparent Water Colors Advert Google Books The American Annual of Photography and Photographic Times - Almanac for 1892, Volume 6, Advertising section, p.98. |
| 24. |  | 1859 Newman's Photographic Colors, for the Silvered Plate - Glass - and Paper Advert Google Books Advert was published in How to Colour a Photograph; or, Lessons on the Harmony and Contrast of Colours (London: Cassell, Petter, and Galpin, 1859) |
| 25. |  | 1889 Advert for "Marion's Complete Box of Finishing Materials" Advert Private collection of Rob Oechsle Advert was published in Robert Johnson "A Complete Treatise on the Art of Retouching Photographic Negatives and Clear Directions how to Finish & Colour Photographs" (London: Marion and Co., 1889) |
| 26. |  | 1889 Advert for "Marion's Complete Box of Finishing Materials" Advert, detail Private collection of Rob Oechsle Advert was published in Robert Johnson "A Complete Treatise on the Art of Retouching Photographic Negatives and Clear Directions how to Finish & Colour Photographs" (London: Marion and Co., 1889) |
| 27. |  | Unidentified photographer / artist 1859 Advert for James Newman Book page Google Books This advert is included in "The Principles and Practice of Harmonious Colouring, in Oil, Water, and Photographic Colours, especially as Applied to Photographs on Paper, Glass, and Silver-Plate" by an Artist Photographer (Second edition) This book was published in 1859 in London by W. Kent & Co., 51 & 52, Paternoster Row; and James Newman, 24, Soho Square, W. |
| 28. |  | Unknown author 1859 Title page of "the Principles and Practice of Harmonious Colouring, in Oil, Water, and Photographic Colours, especially as Applied to Photographs on Paper, Glass, and Silver-Plate" by an Artist Photographer (Second edition) Title page Google Books This book was published in 1859 in London by W. Kent & Co., 51 & 52, Paternoster Row; and James Newman, 24, Soho Square, W. |
| 29. |  | 1859 Book cover for "How to Colour a Photograph; or, Lessons on the Harmony and Contrast of Colours" (London: Cassell, Petter, and Galpin, 1859) Book cover Google Books Reprinted from the Photographic News. |
| 30. |  | Unidentified photographer / artist 1859 Title page for "How to Colour a Photograph; or, Lessons on the Harmony and Contrast of Colours" (London: Cassell, Petter, and Galpin, 1859) Title page Google Books Reprinted from the Photographic News. PREFACE. Colouring has been said to be "the sunshine of art, that clothes poverty in smiles, and renders the prospect of barrenness itself agreeable, while it heightens the interest, and doubles the charms of beauty." The reproduction of objects in. their natural colours, by means of the camera, is a subject which'has occupied much of the attention of many of the most illustrious pioneers of photography; but, as yet, without definite result. Until that problem is solved, to give photographic portraits their full value as likenesses to give them life and individuality the photographer must have recourse to the art of the painter. We purpose, therefore, in the following pages, to give the simplest and most efficient mode of colouring positives on glass and paper, in photographic powder colours, water colours, and oil colours, so as to produce satisfactory and artistic results. In order that our work may be a manual for the amateur as well as the professional student, we shall begin at the beginning, and endeavour to make the matter clear to the most uneducated capacity : premising, however, that whilst much is possible to steady perseverance, there is not here, as there is not in any of the arts, any royal road to success. To obtain perfect results will require the constant exercise of a careful hand, a practised eye, and a cultivated judgment. |
| 31. |  | Unidentified photographer / artist 1861 Title page for Alfred H. Wall, "A Manual of Artistic Colouring, applied to Photographs: A Practical Guide to Artists and Photographers" (London: Thomas Piper, Photographic News Office, 1861) Title page Google Books |
| 32. |  | Unidentified photographer / artist 1876 Title page for P. Piquepé "Practical treatise on enamelling and retouching in photography" (London: Piper & Carter, 1876) Title page Google Books |
| 33. |  | George B. Ayres (author) 1878 Book cover for George B. Ayres, "How to Paint Photographs in Water Colors and in Oil - How to Work in Crayon - Make the Chromo-Photograph - Retouch Negatives and Instructions in Ceramic Painting…", (New York: Daniel Appleton & Company, 1878) Book cover Private collection of Rob Oechsle Full title: George B. Ayres, How to Paint Photographs in Water Colors and in Oil - How to Work in Crayon - Make the Chromo-Photograph - Retouch Negatives and Instructions in Ceramic Painting. A Practical Hand-Book Designed for the Use of Students and Photographers, containing Directions for Brush-Work in all kinds of Photo-Portraiture (Fourth Edition), (New York: Daniel Appleton & Company, 1878) The title page contains the rather revealing sentence: There is no degree of talent so small that proper instruction may not develop it. |
| 34. |  | George B. Ayres (author) 1878 Title page for George B. Ayres, "How to Paint Photographs in Water Colors and in Oil - How to Work in Crayon - Make the Chromo-Photograph - Retouch Negatives and Instructions in Ceramic Painting…", (New York: Daniel Appleton & Company, 1878) Title page Private collection of Rob Oechsle Full title: George B. Ayres, How to Paint Photographs in Water Colors and in Oil - How to Work in Crayon - Make the Chromo-Photograph - Retouch Negatives and Instructions in Ceramic Painting. A Practical Hand-Book Designed for the Use of Students and Photographers, containing Directions for Brush-Work in all kinds of Photo-Portraiture (Fourth Edition), (New York: Daniel Appleton & Company, 1878) The title page contains the rather revealing sentence: There is no degree of talent so small that proper instruction may not develop it. |
| 35. |  | Robert Johnson (author) 1889 Book cover for Robert Johnson "A Complete Treatise on the Art of Retouching Photographic Negatives and Clear Directions how to Finish & Colour Photographs" (London: Marion and Co., 1889) Book cover Private collection of Rob Oechsle |
| 36. |  | Robert Johnson (author) 1889 Title page for Robert Johnson "A Complete Treatise on the Art of Retouching Photographic Negatives and Clear Directions how to Finish & Colour Photographs" (London: Marion and Co., 1889) Title page Private collection of Rob Oechsle |
| 37. |  | Unidentified photographer / artist 1902-1909 Front and back covers for "Peerless Japanese Transparent Water Colors - The Self-Blending Colors" (Peerless, 1902-1910) Trade catalogue Private collection of Rob Oechsle |
| 38. |  | Unidentified photographer / artist 1902-1909 Catalogue title page "Peerless Japanese Transparent Water Colors" Trade catalogue title page Private collection of Rob Oechsle Published in "Peerless Japanese Transparent Water Colors - The Self-Blending Colors" (Peerless, 1902-1909). Copyright: C.F. Nicholson, 1902, 1909 |
| 39. |  | Unidentified photographer / artist 1902-1909 Catalogue page "The art of Transparent Tinting…" Trade catalogue page Private collection of Rob Oechsle Published in "Peerless Japanese Transparent Water Colors - The Self-Blending Colors" (Peerless, 1902-1909). Copyright: C.F. Nicholson, 1902, 1909 |
| 40. |  | Unidentified photographer / artist 1902-1909 Catalogue page "Coloring Photographs" Trade catalogue page Private collection of Rob Oechsle Published in "Peerless Japanese Transparent Water Colors - The Self-Blending Colors" (Peerless, 1902-1909). Copyright: C.F. Nicholson, 1902, 1909 |
| 41. |  | Unidentified photographer / artist 1902-1909 Catalogue page "Lantern Slides" Trade catalogue page Private collection of Rob Oechsle Published in "Peerless Japanese Transparent Water Colors - The Self-Blending Colors" (Peerless, 1902-1909). Copyright: C.F. Nicholson, 1902, 1909 |
| 42. |  | Unidentified photographer / artist 1902-1909 Catalogue page "Japanese Sizing" Trade catalogue page Private collection of Rob Oechsle Published in "Peerless Japanese Transparent Water Colors - The Self-Blending Colors" (Peerless, 1902-1909). Copyright: C.F. Nicholson, 1902, 1909 |
| 43. |  | Unidentified photographer / artist 1902-1909 Catalogue page "Read what F.J. Mortimer F.R.P.S.. London, England, says about Peerless Japanese Transparent Water Colors" Trade catalogue page Private collection of Rob Oechsle Published in "Peerless Japanese Transparent Water Colors - The Self-Blending Colors" (Peerless, 1902-1909). Copyright: C.F. Nicholson, 1902, 1909 |
| 44. |  | Richard Penlake (author) 1910 (ca) Book cover for Roger Penlake "How to Colour Photographs & Lantern Slides by Aniline Dyes, Water, and Oil Colours, Crystoleum, and Other Processes", (London: Hazell, Watson & Viney, Ltd, ca. 1910) Book cover Private collection of Rob Oechsle |
| 45. |  | Richard Penlake (author) 1910 (ca) Frontispiece and title page for Roger Penlake "How to Colour Photographs & Lantern Slides by Aniline Dyes, Water, and Oil Colours, Crystoleum, and Other Processes", (London: Hazell, Watson & Viney, Ltd, ca. 1910) Frontispiece and title page Private collection of Rob Oechsle |
| 46. |  | Richard Penlake (author) 1910 (ca) The New Pony. A "light" subject particularly suitable for colouring with dyes, oil or water colours. Book illustration Private collection of Rob Oechsle |
| 47. |  | 1943 Book cover for Avenir Le Heart, "Coloring Photographs in Oil and Water Colors" (California, Hollywood: Avenir Le Heart Studio, 1943) Book cover Private collection of Rob Oechsle The first edition of this book was published in 1940. |
| 48. |  | Unidentified photographer / artist 1943 Title page for Avenir Le Heart, "Coloring Photographs in Oil and Water Colors" (California, Hollywood: Avenir Le Heart Studio, 1943) Title page Private collection of Rob Oechsle The first edition of this book was published in 1940. |
| 49. |  | 1944 Book cover for Lucile Robertson Marshall, "Photo-Oil Coloring for Fun and Profit", (New York: U.S. Camera Publishing Corporation, 1944) Book cover Private collection of Rob Oechsle |
| 50. |  | Unidentified photographer / artist 1944 Frontispiece and title page for Lucile Robertson Marshall, "Photo-Oil Coloring for Fun and Profit", (New York: U.S. Camera Publishing Corporation, 1944) Frontispiece and title page Private collection of Rob Oechsle |
| 51. |  | Unidentified photographer / artist 1944 Forward page for Lucile Robertson Marshall, "Photo-Oil Coloring for Fun and Profit", (New York: U.S. Camera Publishing Corporation, 1944) Forward page Private collection of Rob Oechsle |
| 52. |  | 1947 Book cover for Charles W. Wally, "Colouring Tinting and Toning Photographs", Second Edition (London: The Fountain Press, 1947) Book cover Private collection of Rob Oechsle The first edition of this book was published in April 1944. |
| 53. |  | Unidentified photographer / artist 1947 Title page for Charles W. Wally, "Colouring Tinting and Toning Photographs", Second Edition (London: The Fountain Press, 1947) Title page Private collection of Rob Oechsle The first edition of this book was published in April 1944. |
| 54. |  | 1947 Advert for "Tabloid… Photographic Chemicals" Advert Private collection of Rob Oechsle This advert was published in Charles W. Wally, "Colouring Tinting and Toning Photographs", Second Edition (London: The Fountain Press, 1947). |
| 55. |  | 1947 Advert for "Johnson Photo Tints" Advert Private collection of Rob Oechsle This advert was published in Charles W. Wally, "Colouring Tinting and Toning Photographs", Second Edition (London: The Fountain Press, 1947). |
| 56. |  | 1947 Advert for "Rossite Colour Outfit (Patent No. 547382)" Advert Private collection of Rob Oechsle This advert was published in Charles W. Wally, "Colouring Tinting and Toning Photographs", Second Edition (London: The Fountain Press, 1947). |
| 57. |  | 1947 Advert for "Photo Tinting Outfit No.3" with additional Windsor & Newton Ltd products Advert Private collection of Rob Oechsle This advert was published in Charles W. Wally, "Colouring Tinting and Toning Photographs", Second Edition (London: The Fountain Press, 1947). |
| 58. |  | 1963 Book cover for John G. Marshall, "Marshall's Manual on How to Have Fun… and Make Money Coloring Photographs by Hand", (New York, Brooklyn: John G. Marshall Mfg. Co., Inc., 1963) Book cover Private collection of Rob Oechsle |
| 59. |  | Unidentified photographer / artist 1963 Book page from John G. Marshall, "Marshall's Manual on How to Have Fun… and Make Money Coloring Photographs by Hand", (New York, Brooklyn: John G. Marshall Mfg. Co., Inc., 1963) Book page Private collection of Rob Oechsle |
| 60. |  | 1963 Advert for "Marshall's Master Set" Advert Private collection of Rob Oechsle This advert was published in John G. Marshall, "Marshall's Manual on How to Have Fun… and Make Money Coloring Photographs by Hand", (New York, Brooklyn: John G. Marshall Mfg. Co., Inc., 1963) |
| 61. |  | 1963 Advert for "Marshall's Photo-Art Kit" Advert Private collection of Rob Oechsle This advert was published in John G. Marshall, "Marshall's Manual on How to Have Fun… and Make Money Coloring Photographs by Hand", (New York, Brooklyn: John G. Marshall Mfg. Co., Inc., 1963), p.65 |
| 62. |  | Unidentified photographer / artist 1857 Sydney Smyth's Photographic Colours Journal page Google Books Published in Photographic Notes, Vol. II, 1857, p.56 |
| 63. |  | 1857 Sydney Smyths Photographic Colours Advert Google Books Advert included in Thomas Sutton "A treatise on the positive collodion process" (London: Bland & Long, 1857) |
| 64. |  | Unidentified photographer / artist 1859 Advert for James Newman - Photographic brushes Book page Google Books This advert is included in "The Principles and Practice of Harmonious Colouring, in Oil, Water, and Photographic Colours, especially as Applied to Photographs on Paper, Glass, and Silver-Plate" by an Artist Photographer (Second edition) This book was published in 1859 in London by W. Kent & Co., 51 & 52, Paternoster Row; and James Newman, 24, Soho Square, W. |
| 65. |  | Unidentified photographer / artist 1859 Advert for James Newman - Photographic varnishes Book page Google Books This advert is included in "The Principles and Practice of Harmonious Colouring, in Oil, Water, and Photographic Colours, especially as Applied to Photographs on Paper, Glass, and Silver-Plate" by an Artist Photographer (Second edition) This book was published in 1859 in London by W. Kent & Co., 51 & 52, Paternoster Row; and James Newman, 24, Soho Square, W. |
| 66. |  | Unidentified photographer / artist 1856, 27 September Newman's Coloured Photographs Magazine page Google Books Mechanic's Magazine, Volume 65, No.1729, Sept 27, 1856, p.300. NEWMAN'S COLOURED PHOTOGRAPHS. We have been favoured by Mr. Newman of Soho-square, with a view of some photographs colored with his "Improved Photographic Colors." The effect is life-like, all the delicacy of the most elaborate photograph being preserved with the addition of colour. Mr. Newman informs us, that the process of colouring is excessively easy, and only requires taste on the part of the amateur, to produce effects more life-like than can be produced by any other species of colouring. We should think our female friends would he delighted with so lady-like, useful, beautiful and cheap an occupation. |
| 67. |  | 1856 Newman's Photographic Colors Advert Google Books Advert was published in John Glyde, Jun. Suffolk in the Nineteenth Century: Physical, Social, Moral, Religious, and Industrial (London: Simpkin, Marshall, and Co., 1856) |
| 68. |  | 1857 Newman's Photographic Colours Advert Google Books Advert included in Thomas Sutton "A treatise on the positive collodion process" (London: Bland & Long, 1857) |
| 69. |  | 1863 Newman Advert Google Books Advert included in the Crystal Palace Penny Guide (London: Robert K. Burt - Sydenham: Crystal Palace Printing Office, 1863) |
| 70. |  | 1859 Horne & thornwaite, Opticians Advert Google Books Advert was published in How to Colour a Photograph; or, Lessons on the Harmony and Contrast of Colours (London: Cassell, Petter, and Galpin, 1859) |
| 71. |  | 1859 Barnard & Son's Photographic Water Colours Advert Google Books Advert was published in How to Colour a Photograph; or, Lessons on the Harmony and Contrast of Colours (London: Cassell, Petter, and Galpin, 1859) |
| 72. |  | 1859 Reeves and Sons' Newly Invented Absorbant Powder Colours for Painting Photographic Positives on Glass or Paper Advert Google Books Advert was published in How to Colour a Photograph; or, Lessons on the Harmony and Contrast of Colours (London: Cassell, Petter, and Galpin, 1859) |
| 73. |  | 1861 Reeve's and Son's Photographic Colours, Etc. Advert Google Books Advert was published in "A Manual of Artistic Colouring, applied to Photographs: A Practical Guide to Artists and Photographers" (London: Thomas Piper, Photographic News Office, 1861) |
| 74. |  | 1859 Messrs. Rowney & Co. have arranged A Set of Tints for Colouring Photographic Miniatures Advert Google Books Advert was published in How to Colour a Photograph; or, Lessons on the Harmony and Contrast of Colours (London: Cassell, Petter, and Galpin, 1859) |
| 75. |  | 1859 Miller's Glass Medium For Use in Colouring Photographs Advert Google Books Advert was published in How to Colour a Photograph; or, Lessons on the Harmony and Contrast of Colours (London: Cassell, Petter, and Galpin, 1859) |
| 76. |  | 1889 Brodie & Middleton, London Advert Google Books Advert included in H.P. Robinson "Picture-Making by Photography", Second edition, revised (London: Hazell, Watson & Viney, Ld., 1889) |
| 77. |  | 1878 Advert for "Webster Liquid Concentrated Transparent Water Colours." Advert Private collection of Rob Oechsle This advert was published in George B. Ayres, How to Paint Photographs in Water Colors and in Oil - How to Work in Crayon - Make the Chromo-Photograph - Retouch Negatives and Instructions in Ceramic Painting. A Practical Hand-Book Designed for the Use of Students and Photographers, containing Directions for Brush-Work in all kinds of Photo-Portraiture (Fourth Edition), (New York: Daniel Appleton & Company, 1878) |
| 78. |  | E. & H.T. Anthony & Co. 1878 Advert for "E. & H.T. Anthony & Co." Advert Private collection of Rob Oechsle This advert was published in George B. Ayres, How to Paint Photographs in Water Colors and in Oil - How to Work in Crayon - Make the Chromo-Photograph - Retouch Negatives and Instructions in Ceramic Painting. A Practical Hand-Book Designed for the Use of Students and Photographers, containing Directions for Brush-Work in all kinds of Photo-Portraiture (Fourth Edition), (New York: Daniel Appleton & Company, 1878) |
| 79. |  | Richard Beard 1842, 10 March (sealed) 1843 (publication) Patent: To Richard Beard. of Earl-street, Blackfriars, Gent., for improvements in the means of obtaining likenesses Magazine page Google Books Published in "The London Journal and Repository of Arts, Sciences, and Manufactures", Conjoined Series, No.CXXXII, Recent Patents, 1843, p.358-360. To Richard Beard, of Earl-street, Blackfriars, Gent., for improvements in the means of obtaining likenesses and representations of nature, and of other objects, being a communication. [Sealed 10th March, 1842.] This invention consists in various modes of coloring the pictures produced by the "Daguerreotype" process. By the first method, the object is obtained by reducing the colors to an impalpable powder, and depositing them upon different parts of the picture, in succession; the extent of each color being determined by a pattern or screen, resembling a stencil plate. The mode of operation is as follows: The Daguerreotype picture is first placed in a rectangular frame, which is formed with a projecting edge, of about one-twentieth of an inch in thickness. Over this frame a piece of glass or mica is laid, and a tracing is made upon it, with coloring matter, of the shape of those parts of the picture that are to be colored. From this tracing a number of patterns or screens are formed, one for each color. Each screen consists of a light rectangular frame, covered with tracing paper, upon which all those parts that are required to be of one color are traced, and the space included between the traced lines is cut out; so that when the screen is placed upon the picture, the tracing paper will cover its surface, except those parts which are required to be of a uniform tint. The colors are prepared by grinding them to an impalpable powder, with a weak solution of gum-arabic, isinglass, starch, or other similar material; they are then dried in a stove, (kept at a heat somewhat less that 212o Fahr.,) and, after being passed through a fine sieve, are ready for use. In applying these colors, a number of boxes, of a size sufficient to admit the picture, are employed, and into each box, the number of which varies according to the tints required, a few grains (say about fifty) of color are deposited. The color is agitated with a large soft brush, until a dust is created in the box, and the picture, covered by one of the screens, being then introduced, the particles of color settle upon the screen, and upon those parts of the picture that are not covered by it. After this operation, the picture is withdrawn, the screen taken off, and the color removed from the shaded parts, by means of a small pair of bellows; the remainder of the color is then attached to the picture by breathing upon it, which partially dissolves the gum, and the process is completed. The second improvement consists in mixing the colors with gum-water, and applying them, with a hair pencil, to the underside of the glass that covers the picture; so that when the later is seen through the glass, it will present the appearance of a colored picture. The third and last method consists in using the colors in a dry pulverized state, as in the first improvement, dotting them on to the picture, with small brushes, in a similar manner to stippling; the colors are then fixed by being breathed upon. [Inrolled in the Inrolment Office, September, 1842.] |
| 80. |  | Henry Hopley White (author) 1859 "the Relations and Harmonies of Colour" by Henry Hopley White, Esq. Book page Google Books The Relations and Harmonies of Colour Blue Yellow Red pure simple colours'all (By mixture unobtained) we Primaries call; From these in various combinations blent, All other colours trace their one descent. Each mixed with each their powers combin'd diffuse New colours forming Secondary hues : Yellow with red makes Orange, with blue Green, In blue, with red admix'd, is Purple seen. Each of these hues, in Harmony we find, When with its complementary combined; Orange with blue, and green with red, agrees, And purple tints, near yellows, always please. These secondaries Tertiaries produce, And Citrine Olive Russet introduce; Thus green with orange blended forms citrine, And olive comes from purple mixed with green; Orange, with purple mix'd, will russet prove; And, being subject to the rule above, Harmonious with each tertiary we view The complemental secondary hue: Thus citrine olive russet harmonise With purple orange green, their true allies. These hues, by white diluted, Tints are made, By black, are deepen'd into darkest Shade. Pure or combin'd, the primaries all three, To satisfy the eye, must present be; If the support is wanting but of one, In that proportion harmony is gone: Should red be unsupported by due share Of blue and yellow pure combin'd they are In green which secondary, thus we see, The harmonising medium of all three. Yellow for light contrasts dark purple's hue, Its complemental, form'd of red and blue. Red most exciting is let Nature tell How grateful is, and soothing, green's soft spell. So blue retires beyond all colours cold, While orange warm advancing you behold. The union of two primaries forms a hue, As perfect and decided as 'tis new; But all the mixtures which all three befall Tend to destroy and neutralise them all; Nay, mix them three parts yellow five of red And eight of blue then colours all are fled. When primaries are not pure you'll surely see, Their complementals change in due degree; If red (with yellow) to a scarlet tend, Some blue its complemental green will blend; So if your red be crimson (blue with red), Your green with yellow would be varied; If yellow tends to orange, then you find Purple (its complement) to blue inclin'd; But if to blue it leans, then mark the change, Nearer to red you see the purple range. If blue partakes of red the orange then To yellow tends; if yellowish you ken The secondary orange glows with red. Reader, farewell! My lesson now is said. The lines are by Henry Hopley White, Esq., to whose courtesy we are indebted for permission to publish them. They were written to accompany the beautiful diagram illustrating the relations of colours, which, by Mr. White's permission, appeared as frontispiece to the first edition of this work. The lines and coloured diagram are now published on a separate sheet, by Mr. Newman, Soho Square, and will be found valuable for use in schools, and by all students of colour. Included in page 21-23 of "The Principles and Practice of Harmonious Colouring, in Oil, Water, and Photographic Colours, especially as Applied to Photographs on Paper, Glass, and Silver-Plate" by an Artist Photographer (Second edition) This book was published in 1859 in London by W. Kent & Co., 51 & 52, Paternoster Row; and James Newman, 24, Soho Square, W. |
| 81. |  | Unidentified photographer / artist 1884 There is great demand in America for "crayon photography" Book page Google Books Published in "Three Visits to America" by Emily Faithful (New York: Fowler & Wells Co, undated on title page but 1884), p.307. There is a great demand in America for "crayon photography," by which hundreds of girls receive from 25 to 100 dollars for every crayon produced. People who possess faded, unsatisfactory daguerreotypes of relatives long since dead, are glad to have them taken to a solar-printshop to be enlarged and worked over with crayons, pastels, charcoal, or Indian ink, till pleasant portraits are obtained. A good crayon artist can draw directly from the photograph without using the solar-print at all, and thus lifts herself into a higher artistic rank, and her work becomes eligible for admission into the annual exhibition of the National Academy of Design. No American lady has yet obtained any distinction as a photographist. In our own country the greatest triumph in this direction was won by an amateur, the late Mrs. Cameron, who exhibited her pictures season after season in Colnaghi's gallery. |
| 82. |  | 1861 Alfred H. Wall - Undertakes Photographic Colouringà Advert Google Books Advert was published in "A Manual of Artistic Colouring, applied to Photographs: A Practical Guide to Artists and Photographers" (London: Thomas Piper, Photographic News Office, 1861) |
| 83. |  | 1859 Every Photographer His Own Artist - Mr. Perry Advert Google Books Advert was published in How to Colour a Photograph; or, Lessons on the Harmony and Contrast of Colours (London: Cassell, Petter, and Galpin, 1859) |