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COMPLETE GUIDE

TO THE

ORNAMENTAL

LEATHER WORK.

LONDON
PUBLISHED BY

J.

RETELL,

272

OXFORD STREET

SOLD BY
T.

T.

LEMARE, OXFORD ARMS PASSAGE,


PATERNOSTER ROW;

B. .SMITH, 107,

FLEET STEEET; AND AIL BOOKSEILEHS.


Jlalf-a-Cromi.

REVELL'S
COMPLETE GUIDE
TO THE

OMAMESTAl LEATHER WORK.


GENERAL REMARKS.
WE

feel

requisite

assured that a long introduction


to the reader

or publisher of a

is

neither

Work

like

the present, and shall, therefore, merely say, that the


great success our former

little

Works have met

with,

has induced us to send forth this edition, in which will

be found every particular connected with this very useful

source of amusement and fashionable department of

practical art.

The

illustrations are furnished

pupil of the School of Design,


prize for

who

by a

late

obtained the highest

Flower Painting, assisted by a student of the

ROYAL ACADEMY OF ARTS.

Every example given has

been practically tested, and, in most instances, the drawings have been copied from the models executed in leather,

and

will

design.

be found to combine durability with beauty of


In order to make the leather modelling as

durable as possible,

we have

not departed from nature in

the finished form, but in the

example,

we make

piece of leather.

mode

of construction; for

several portions of a flower in one

The Narcissus and

Lily have each six petals

in

the beautiful

the entire corolla of the flowers in one piece

White

we make

both instances,
;

thereby,

while losing none of the beauty of the natural form of


the flowers,

we

gain strength and solidity

petals of the Lily or Narcissus to be


pieces, one,

if

as,

were the

composed of

imperfectly cemented, might

fall off

six

and

detract from the beauty of the entire piece of work.

our method of proceeding,

mention

this,

in

as,

it is

impossible to do so

we

at perfectly correct

and

artistic

from the

differ

botanic construction, while, at the

it

impracticable to

piece of leather

must be taken

where

to have

literally

same time, we

arrive

formation.

In some flowers, as in the Hop, Dahlia, &c.,

found

we

Making and

our description of

Modelling Flowers in Leather,

By
:

we have

combine many petals

in

one

this is the case, especial care

good

liquid glue,

and fasten each

petal securely.

All leather to be used in Modelling Leaves, Flowers,


&c.,

must be

as this

is

first

wetted, and modelled while wet

and

a general rule, the student will understand that

mention of the necessity of

this operation

will

not in

every instance be repeated.

Amongst

the

applied, that of

many

uses to which Leather

ornamenting Pulpits

will

capital field for the display of this art, as

Work

is

be found a
capable of

it is

B 2

xii.

being moulded into any form, and nothing can possiblv

have a more substantial and beautiful appearance.

of varied form,

Glasses

fashioned goblets, as well as


ture, can
Lilies

many

of

and

old-

modern manufac-

be covered on the outside with Leather

of the

trailled

as jelly glasses

Valley, and other such

Work

flowers,

round a groundwork of leaves, and being

being
eithei

gilded or stained, look exceedingly well; and as the\


are capable of holding water,

become

really useful at

well as ornamental articles for bouquets of flowers.

Fire-screens and scroll


the

same manner,

for frames.

wool,

or

work

are executed exactly

ir.

as described in the following pages,

Fire-screens are generally

some other fancy work.

filled

with

Berlii;

Those who would

prefer to have an entire piece of Leather

Work, cat

paint landscapes or flowers upon white leather, usinsr

the same
for

body

colours.

medium which

is

used at the School of Desigi:

colour painting, mixed with finely powdered

Gold Leather

Work

looks remarkably well upon a

blue or crimson velvet ground, and


frames,

fire

When

screens, &c.

makes very

rich

tastefully arranged, the

flowers and leaves upon these grounds have a very

mag-

nificent appearance.

Amongst

the numerous articles which admit of being

ornamented with

leather,

brackets, vases, pole and

may be enumerated

hand

racks, music and watch stands.

frames,

screens, card plates

and

imfte

teamwitai

to

ftatkr

THE MATERIALS.

The principal Materials required for

this

Basil Leather.

Skiver ditto.

Bottle of

Oak Varnish

Stain.

Ditto Spirit Stain.


Ditto Shaw's Liquid Glue.

work arc-

REVELl/S COMPLETE GUIDE

16'

Bottle of Stiffening.

Small Hammer.

few Brushes,

Some

Tacks.

pair of Nippers.

Veining Tool.

few hard Steel Pens.

Bradawl.
Pair of Scissors.

Leather-cutting Knife.

Grape Moulds.
Ditto for Passion Flowers.

Fine Black Lead Pencil.

TO

ORNAMENTAL LEATHER WORK.

LEATHER.

The kind
it

of leather used for general purposes is basil

should be selected of an even texture and of a light

colour, as the lighter coloured basil takes the oak var-

nish stain better than the dark.

Great care must be taken to select

from blemishes, as

work when
so

if

finished,

even by

good an appearance

skilful artists,

The

soft

is

skilful

is

and

free

used, the

hands, will not have

as the production of

where good

skiver leather

it

dark and rough leather

much

less

basil leather is used.

used for making grapes, or very

small leaves and flowers, and can be obtained at the

same place

as the basil leather

useful for thin stems

work.

this

kind

is

also very

and any minute portion of the

REVELL

IS

COMPLETE GUIDE

DIRECTIONS FOR MAKING THE LEAVES.

Sketch, either from nature,

or

from the example

annexed, the leaf you intend to copy, upon pasteboard


cut

it

out very carefully

No.

1.

cold water for half a minute (not longer),

leather

is

then place a piece of basil in

unusually thick

unless the

the leather should then be

taken out of the water, and pressed in a linen cloth until


the
it

surface

quite

flat

becomes dry.

Being thus prepared, lay

and place upon

it

the pasteboard pattern,

TO ORNAMENTAL LEATHER WORK.

it

holding

firmly

down with

the

left

19

hand, while with

the right, draw a line round the pattern with a fine hard

black lead pencil or the veining tool


is

damp

while the leather

cut oat the leaf with a pair of scissors or with

the leather-cutting knife, as occasion


are

smaller or larger leaves

may require when


;

required,

made

enlarged, sketch should be taken, a pattern

pasteboard, and applied in the same

above, cutting out as

many

manner

leaves as

or

a reduced,

you

of

it

in

as described
require,

and

generally making about four sizes of them, as varying

much

the sizes of the leaves adds


foliage.

Leaves

all

to the beauty of the

the same size would have a very

formal appearance, as they must be veined before they

allowed to dry;

are

much

too

leather

must not be

wetted at a time, nor more leaves cut out than can be

To

veined.
tool

vein the leaves,

pressing heavily on the


required

be

mark them with the veining

on the smooth side of the leather strongly, by

visible

leaf,

where a thick vein

and more lightly where only

for raised veins

of scissors for the large,

employ the end of a


and a hard

is

finer ones should

steel

fine pair

pen for the

REVELL

20
smaller

veins.

COMPLETE GUIDE

Being veined, the leaves

should be

bent and moulded as they are to appear upon the work

when

it is

quickly, as

completed
it

they should then be dried rather

greatly assists in the hardening.

TO ORNAMENTAL LEATHER WORK,

TO HARDEN THEM

Wiicii the leaves are thoroughly dry, brush

them

all

over, particularly the edges with the prepared stiffening

applying

it

with a camel's hair pencil, nimbly, as

very rapidly, apply


cover the
stainiu<r

edges

it

thin

when

it drie.--

and evenly, taking care to

dry,

they will be ready for

REVELL'S COMPLETE GUIDE

22

TO STAIN THEM.

Pour a

little

oak varnish stain into a small vessel, and

brash the leaves


the purpose

over, using a hog's-hair tool for

all

of laying on the stain, taking care to cover

the edges, and brush

it

when

should the leaves,

well out of the veined parts

another coat can be given, but in no instance


thick

coats of stain,

dry, not be so dark as desired,

it will,

if

apply

put on thick, most likely

dry darker in one place than another, and will never

have so smooth an appearance as when two thin coats


have been applied

take care always that one coat must

be dry before another

is

applied.

TO ORNAMENTAL LEATHER WORK.

23

TO MAKE STEMS.

Cut

strips of basil leather

about one-third of an inch

wide and as long as the leather will allow

soak them

well in water for a few minutes until they feel very soft,

take
roll

them

out, wipe the water

them round

outwards) on a table or any even


if

from the

surface, then

as tightly as possible (the

required very

stiff,

surface,

smooth

side

and dry them

<idd inside a piece of

wire

when

very thick ones are required the leather must be proDortionatelv wider.

24

COMPLETE GUIDE

REVF.LL'S

TO MAKE TENDRILLS.

Tendrills

made

are

iu the

same manner

Stems,

as

using skiver instead of basil leather, dry them quickly, and

they will then be ready for use in the following manner


take a tendrill,

damp

it

and immediately wind

it

round

a bradawl or a piece of stout wire, taking care to fasten

both ends of the


it

by the

fire,

tendrill so that it

then remove

it

does not

fly off;

from the awl and a

cately-formed tendrill will be the result

arrange

dry
deli

it

and

cut to length and form wished, and apply a coat of


stiffening to

keep

it

in shape.

Stems and

tendrills are to

be hardened and stained precisely in the same manner


the leaves.

a.-

TO ORNAMENTAL LEATHER WORK.

CRAPES.

In order to produce grapes symmetrically formed a


proper mould should be obtained

then cut rounds of

must be wetted

skiver leather the size required, which

and placed
then

and

fill

tie

twine

in

the mould the smooth side

the leather in the

downwards

mould firmly with wadding,

the grapes securely with strong thread or fine

when

the grape

through the part where

it

is

finished, put a piece of wire

has been tied up to form a stalk.

Or grapes can be made

of deal or any soft

wood with

a hole pierced through the centre large enough to admit


of a leather or gutta percha stalk being

and fastened

at

one end

and made into clusters


with

damp

observe, in

entirely concealed

&c., precisely in the

drawn throusrh

now be

stained

wooden grapes may be covered

skiver leather

making the

they should

if

preferred

it is

necessary to

clusters that the tying should be

all fruit

and flowers must be stained,

same manner as

leaves.

REVELL'S COMPLETE GUIDE

26

TO ORNAMENT A FRAME.

Procure a deal frame of the size and form required,


taking care to have
it all

it

over with patent

made

dry, then apply a coating of

dry

it

will

of well-seasoned wood.

Leave

size.

it

oak varnish

stain,

Commence

be ready for use.

Size

about an hour to

and when

the process of

covering by attaching the stem with small tacks

all

round, in spaces of a few inches, in a zigzag direction.

Supposing the vine pattern frame

wood with
ranged,

is

selected, cover the

four or five gradations of foliage, well ar-

so as

to preserve as nearly as

natural appearance of the vine.

grapes should be avoided

Too great

it

Common

the

a profusion of

but as the number and size

of the clusters can hardly be determined,


fore leave

possible,

we must

there-

to the taste of the artist.

pins can be used with advantage in keeping

in its proper place that portion of the

work where glue

TO ORNAMENTAL LEATHER WORK.


only can be applied for the permanent fastening.

the

work becomes

27

When

firmly attached, the pins can either be

withdrawn, or they can be cut


ments, with the nippers.

off,

close to the orna-

28

REVKLL'S COMPLETE GUIDE

THE PROPER KIND OF FRAMES TO


PROCURE.

The frames

best adapted for the work,

we have found

to be those levelled off on the outer edge to about half

an inch thinner than the inner, and formed as shewn in


Fig.

Frames made

in this shape greatly increase the

No.

2.

beauty of the entire design.

hare generally added

as the gold gives a

inside,

narrow gold beading we

finished appearance to the frame.

more

TO ORNAMENTAL LEATHER WORK.

29

WATCH STANDS,
Can,

like

one below, be made by every carpenter

must be strong

to bear the nailing

leather ornaments.

The design here given

No.

they

and gluing on of the


(Fig. 2),

we

3.

keep, as well as other descriptions in stock, but they can

3U

REVELL

COMPLETE GUIDE

be varied ad inftnilum ; and we

shall

any design to order very promptly,

be happy to make

or, as

observed, almost any carpenter can

nished with a drawing to work from.

we have before

make them,

if fur-

TO

ORNAMENTAL LEATHER WORK.

THE WHITE

31

LILY,

This beautiful flower, one of the oldest inhabitants of


the flower garden, has six petals, which are formed of

No.

4.

one piece of leather, as in


Fig.

the three
largest

REVELL'S COMPLETE GUIDE

32

which, alternate with the

petals,

uppermost,

are brought

others,

smaller ones

Our readers will at once

behind.

by

while the three

are

perceive what

referring to the finished flower

placed

is

meant

they are to be veined

and curled as in the natural flower, and the petals


require to be glued to
it is

if

necessary,

keep them

you have not our mould

pose, to adapt something to place the

modelling
flower

as

it,

will

in their proper places

for that pur-

lily

upon while

as near the shape of the interior of the

The

possible.

'oblong anthers, which are


for the convolvolus

the

germen, lengthened

has six stamina,

lily

made

pistil,

with

style and

with

manner described

in the

swollen base or

its

heart-shaped

stigma,

hould be carefully imitated from nature, being a very

prominent feature in the flower


placed round the germen of the

the stamina should be

pistil

and fastened with

liquid glue into the centre of the flower

collected that the


inside

the

lily

smooth

as in

it

must be

side of the leather

the convolvolus

some flowers

require the smooth side of the leather inside, and


outside

it

re-

must be

must depend upon whether the

some

interior or

TO ORNAMENTAL LEATHER WOKK.


exterior of the flower

instances in the

is

most

in sight,

same flower some

petals

and

in

some

must be placed

ene way, and some another.

The bud

of the lily is

formed by merely folding the

wUola corolla together veined.

REVKLL'S COMPLETE GUIDE

34

FUSCHIA.

The calyx forms


is

made with one

panying (Fig.

1.)

the external part of this flower, and

piece of leather cut as in the accom-

The

petals within this are four,

No.

are cut

out, the four in

and

5.

one piece

in the

form of the

TO ORNAMENTAL LEATHER WORK.


dotted

line, in

Fig.

1,

they must be moulded into shape

and glued to the stamina inside the calyx so as to


nate with

Enneandria, having nine stamina

follows

wire, to

To

they are to cut in one

put the fuschia together, proceed as

Cut the nine stamina, and attach to them the


form the stalk

over the stamina

round the whole

moulded as
stamina are

in
left

the

then

roll

the four petals firmly

they mnst be moulded and glued

round the stamina and


roll

alter-

This flower belongs to the class

its petals.

piece of leather.

OD

stalk,

then take the calyx and

the leaves nrnst be expanded and

engraving, taking

care that

the

out as in the natural flower, and that

the inner petals alternate with the leaves of the calyx


to
in,

make

the buds, roll up the calyx, and turn the ends

not inserting any stamina.

REVELL

36

COMPLETE GUIDE

BRACKETS.

The beauty
artistic

skill

depends entirely upon the

of a bracket

displayed

graving here given

is

in

ornamenting

to illustrate the

No.

best suited to give

it

side

The en-

6.

strength and solidity, and to aid

the artist in bringing the

wood on each

it.

form of bracket

work

well out, the strips of

of the piece in the centre will be

found exceedingly useful to

nail

and glue the work

TO ORNAMENTAL LEATHER WORK.


they must be entirely covered with the foliage

the centre piece can be hidden or not to suit the design

upon

the appearance of brackets are

much improved by having

the edge of the upper part gilded.

REVELL'S COMPLETE GUIDE

TO MAKE THE CONVOLVOLUS FLOWERS.

The Convolvolus, termed, by


from

its

Botanists, Monopetalous,

being composed of only one petal,

well adapted for leather

half circle of leather with a

work
little

of the diameter, as seen in the

it is

is

exceedingly

made by

cutting a

piece cut out of the centre

annexed engraving (Fig.

.)

1.

Fhe leather so cut must be wetted and viened, then bent

round (the smooth side inside, so that the smooth side

TO ORNAMENTAL LEATHER WORK.


oi'

39

the leather form the inside of the flowers) until the

two edges on each

side of the notch

come together, where

they are to be joined by being either stitched or glued


together

it

will

then have a conical shape, and must be

moulded with the

fingers, or the

a natural appearance

that part

is

finished

mould,

it

assumes

cut the stamina, as in (Fig. 2.),

leaving a stalk of leather attached to

manner

until

the top can be cut to shape, and

it

in the following

take a piece of basil about a quarter of an inch

wide and a few inches long

cut the top as in Fig. 2,

raking care to preserve the form of the anther at the top'


of each stamen,

and rolling the stalk part up, put

through the petal and glue

it

in its

calyx has five leaves (Fig. 3), and


leather
stalk

a hole

is

made

proper place.

is

in the centre,

it

The

cut in one piece of


it is

strung on the

and attached with glue to the bottom of the flower

outside as in the finished flower (Fig. 4), so that the


perfect convolvolus

is

composed of three

pieces, the petal

forming the body of the flower, the stamina inside, and


the calyx at the bottom of the flower outside.

40

RBVHLL'S COMPLKTK

THE CONVOLVOLUS ANOTHER WAY.

Another way to make the Convolvolus is to cut a round


piece of leather the size of the flower required, and while

wet, moulding

bending

it

it

over the mould for that purpose and

into shape

the Canterbury bell can be formed

of one piece of leather in the

same manner, cutting the

top into proper shape with a pair of scissors.

TO ORNAMENTAL LEATHER 'WORK,

41

HOPS.

The Hop
having the

consists

of numerous

fruit within,

however we have nothing to do, as

The membraneous
and

in

membraneous

and at their base


it

is

scalet

with the fruit


out of sight.

scales are the petals of the

flower,

the engraving (Fig. 1,) are twenty in number;

Fig. 8.

they are

all

the same size, and are cut out of skiver

leather, the shape of the single petal (Fig. 2).

REVELL'S COMPLETE GUIDE

42

To make

the Hop, proceed as follows

Take a

piece

of wire and wind leather round the end of it, as in Fig. 3,


fastening

it

well with liquid glue

be somewhat shorter than the


pleted,

and pointed

petals as

form

at

are requisite,

at the

end of each

this inner

body should

to be

when com-

Hop

both ends.

is

Cut out as many

and mould them into a convex


petal,

then glue them alternately,

commencing'at the bottom and finishing at the top of the


flowers.

TO ORNAMENTAL LEATHER WORK.

43

PASSION FLOWER.

The Passion Flower


pieces,

is

composed in

leather of five

and when well made presents a very beautiful

specimen of what can be accomplished in that material.


In making the Passion Flower cut out the calyx of five

Ko.

leaves

that

is

diagram with

9.

the part of the drawing in the annexed


the

pointed

end

then

cut

D 2

out

the

REVELL'S COMPLETE GUIDE


corolla

of

five

also a circular

cut

all

round

with the

petals

rounded ends

piece for the nectary,

with

the

knife

form

to

cut

which must be
the

radii,

No. 10,

the centre having


central point
its place,

pistil

many

small cuts radiating from the

when turned upward,

it

in

seen in the flowers.

The Passion Flower has

five

stamina with ladle-shaped

ends, or anthers, and three stigmas a

and turning over the stamina


are

in putting

forms the fringe-like appearance around the

made

of

one

piece

of

little

elevated ahove

the anthers and stigma


leather.

The

involu-

TO ORNAMENTAL LEATHER WORK.

crum

is

formed also of one

piece,

45

and the three leave*

are laid one over the other as in the


annexed flower.

No. 11.

To put

together the various parts above described and

form the Passion Flower, begin by doubling a piece of


wire over the angles of the stamina, twisting

it

under-

46

REVELI/S COMPLETE GUIDE


%

neath

roll

form the
flower

a piece of skiver leather round the wire to

style of the pistil

and the stem of the whole

then turn up the three stigmas and

them

piece of leather round

turn them over

this being

close to the

a small

roll

stamina and

done, place the nectary on

the stem, taking care that the ,cut portion in the centre

he arranged upwards around the

pistil.

The

petals are

next placed on the stem, followed by the calyx


leaves of the calyx

must

alternate with the petals

the

liquid

glue must be inserted between each portion of the flower


to give

it

firmness.

The involucrum, which


the stem last a

little

is

a sort of calyx,

put on

is

way below the true calyx

we may

just add, that all the leaves, petals, &c., with the exception of the involucrum,

leather uppermost

must have the smooth

the petals and calyx

side of the

must be hollowed

out with the modelling tool for that purpose, or

if

that

is

not at hand, use the handle of the veining tool, and laying the petals and also the calyx on a smooth surface.

No.

12.

REVELL'S COMPLETE GUIDE.

49

rub them with the ivory end of the veining tool

become hollow and smooth as

The above
describe

edly

it,

made

is

to

the way,

make a

till

they

in the natural flower.

as plainly as

Passion Flower.

we can

possibly

We have repeat-

the flower exactly upon the above plan, and

has always been

much

admired.

it

REVELL'S COMPLETE QUIDS

50

CAMILLA.

Camillas vary in the form of leaves, and the petals

vary in number.
as in the

To make a

camillia, cut out

two

pieces,

annexed diagram, containing four petals

in

No. 13.

each

then cut out one or two larger pieces, with six

petals in each,

or eight petals

and one or more


;

still

larger, with seven

then, having a natural Camilla at hand,

TO ORNAMENTAL LEATHER WORK.

mould them

all

Ol

into form, fasten all the pieces of leather

together, the smallest at the top, and the largest at the

bottom, so that the petals alternate, with liquid glue,

and put a piece of wire through the whole for the stalk
eover

it

with skiver leather.

REVELL'S COMPLETE GUIDE

52

JESSAMINE.

To make

the Jessamine, copy the corolla from the

annexed design, by cutting a

star-like piece of basil, into

No. 13

which

As
to

insert the wire for the stalk as closely as possible.

the stamina are not visible in this flower,

make them.

The tube upon which

it is

needless

the corolla rests,

TO ORNAMENTAL LEATHER WORK.

53

ean be made by rolling a piece of leather round the wire


thickest at the flower,

leather about an inch


five fine

and then add another piece of

below the

corolla,

pointed leaves for the calyx.

which must have

REVELL'S COMPLETE GUIDE

54

DAISY.

The Daisy
like

is

formed by making two pieces of leather,

the pattern, one larger than the other, and putting

No. 14.

the wire, for stalk, through both of .them.

golden

centre

The

little

of the daisy, can be well imitated

by

TO ORNAMENTAL LEATHER WORK.

placing a round piece of leather, rather thick, in the


centre,

shaved off at the edges, and marked with the

reining tool

full

of dots.

56

REVELL'S COMPLETE QUIDK

ROSES.

Wild Rose

is

made by

cutting out two pieces of

leather, exactly as in the engraving,

putting the wire

through two holes made in the centre of the pieces with


a fine bradawl, and pass a piece of wire through the

Xo. 12.
holes, leaving both ends of the wire at the

twisted for the stalk.


strips of leather as

to be,

To form

back to be

the stamina, cut fine

long again as the stamina are required

and insert them under the eye of the wire which

TO ORNAMENTAL LEATHER WORK.


forms the stalk
into

form

57

then cut the stamina, and pinch them up

the top piece, containing five petals, must

be moulded and curved upward, inclosing the stamina

the bottom piece also, containing five petals, must be

moulded downward?, curving and bending them

into

form.

To make
is

a larger Rose, cut out a smaller piece than

-shewn in the engraving, of the same form, also the two

in the engraving,

making four

and a larger piece of the same form

pieces,

containing

twenty petals

proceed as before-mentioned, and a

duced

fuller

Rose

is

then
pro-

thus the character of the flower and the number

of petals can be regulated with comparative ease.

The

rose leaves

pressing

them

pressing tools.

can be moulded at the back by

into the grape

mould with one of the

KKVELL

COMPLETE GUIDE

OAK AND

IVY BRACKET.

The Bracket annexed

out

is

of the usual

run

brackets which have generally been ornamented


leather work.
are

The vine and the convolvulus

much used with very

beautiful effect.

We

of

with

pattern

intended

No. 15.

this

old oak
design to exhibit

it

should be stained very

while the stems of


dark, the oak stems being very thick,
ivv can

be formed of

tendrils.

To make

the oak stems

TO ORNAMENTAL LEATHER WORK.


get very thick wire, and have

it

cut to the

,"C

desired

lengths, then cover the wires with leather, and bend

them

to resemble knarled oak

attach, as naturally as

possible, oak leaves and acorns at the back of the wires,

and on the wood work as shewn


in

a former part of this work

tendrils, leaves,

the bracket

We have

is

the whole

then attach the ivy

and berries around the oak stems, and

completed.

found

any piece of

in the skeleton bracket

it

much improves

the appearance of

work we have been ornamenting,

when completed a

to give

slight coat of varnish.

RBVELI/S COMPLETE GUIDE

60

WATCH STAND

The design

for a

FINISHED.

Watch Stand

will illustrate

one of

the various modes of ornamenting this kind of work


is

very light, and better than too

much crowding

it

the

No. 16.

ornamented

parts, which, besides being a waste of time,

would not look

so elegant as lighter work.

TO ORNAMENTAL LEATHER WORK.

<>1

CARD RACKS

Can be made

in

a variety of ways

the design

here

No. 17.

exhibited

is

novel,

and

at the

same time very

useful.

REVELL'S COMPLETE GUIDE

62

The back

is

made

either with

wood, or

calf- skin leather;

and the leaves forming the rack are also made of the

same

material.

exactly the

working.

Calf-skin dries very hard, being treated

same

as the basil leather in the

manner

of

TO ORNAMENTAL LEATHER WORK.

t';3

THE ROUND OPEN WORK FRAME.

The

beautiful design in the

made with a round frame


two

rebates, one inside

is

accompanying page

of any width desired, having

and one outside the frame

the

and the outside

inside rebate being to admit the picture,

one to allow of the nailing firmly to the frame the open


work, which

Take a
upon

flat

it,

is

be made in the following manner

board, an ironing board

the

rebate

frame

size all

round,

making allowance

for

the

then having ready the stems, work them in and

out, so as to

form the open work as

finished, nail

tendrils

will do, lay the

and with a black lead pencil or a piece of chalk,

mark

when

to

it

to the frame,

in the

drawing

and work stems and

of the vine, hop, passion flower, or any other

beautiful creeping plant, attaching the fruit or flowers in

an

artistic

manner, and the result

most elegant frames ever beheld.

will

be one of the

REVELL'S COMPLETE GUIDE

64

The open or

trellis

work

of this frame should have

stout wire enclosed in the basil leather, and in order that


it

may

not appear formal, wind pieces of leather round the

naked wire at irregular intervals to resemble knots, &c.


then cover the whole with basil leather,
tendrils

which are to wind

in

and

out,

the stem and

and are a portion

of the plant, are not to have wire in them.


Fire Screens are generally
or

filled

with Berlin wool,

some other fancy needlework.

prefer to

Those who would

have an entire piece of leather work can

paint landscapes or flowers

same medium

upon white

as is used in

leather, using the

body color painting

at the

School of Design, mixed with finely powdered colors.

TO ORNAMENTAL LEATHER WORK.

65

UKVBLLS COMPLETE GUIDE

The basket ornamented with rose


can be lined inside with velvet, and

made*
article

in

the velvet lining, they


the outside

is

sprays

little

become

stained old oak

outside,

pockets being

a very useful

G8

REVELI/S COMPLETE GUIDB

The running border here displayed can be adapted

to

No. 20.

ornamenting cornices, poles, frames, &c.

of imitation, and will well repay the artist.

it

is

very

ea.^

TO ORNAMENTAL LEATHER WORK.

We
is

shall conclude our designs with the table,

made in

time, and

whole

69

is

which

four pieces, so that one part can be done at a

when completed, can be removed

completed, when

and forms a

solid

it

until the

can be put firmly together,

example of the use and beauty of the

Ornamental Leather Work.

REVELL'S COMPLETE GUIDE.

71

TO MAKE ACORNS.

Acorns can be made

some

in the following

manner. Procure

natural acorn-cups (which are to be found in great

autumn), choose such cups only as are

quantities in the

perfectly

sound

then pierce two holes through the

bottom of the cup, pass a piece of


holes, leaving the

into a stalk

if

fine wire

two ends long enough

the stalk

is

through the

to be twisted

to be exposed,

must be

it

covered with skiver and made fast with Shaw's liquid


glue.

The most correctly-formed acorn tops

turned

in

wood, which can be firmly placed

by the aid of the liquid glue

formed

acorr>

are those

in

the cup

this completes the fully-

72

CHERRIES.

Cherries are

made

in the

same manner

as grapes,

the stalk neatly covered with skiver leather.

and

TO ORNAMENTAL LEATHER WORK.

73

APPLES, *c,

Apples and pears can be turned in wood


be

bare, or covered with skiver leather

left

much

better covered with skiver,

work, properly speaking; or

and

fruit

they

may

they look

are, then, leather

may be moulded

in

plaster casts with gutta percha.

Carved wood figures may be draped with tolerable


success with the skiver leather, but

we have never seen

any that looked well enough when finished to repay the


time and trouble.

74

RKVELL'S COMPLETE GUIDE

TO MAKE

SIZE FOR STIFFENING

THE

LEATHER WORK.

Simmer 4
till it is

may

oz. of strips of

arise to the surface,

then strain

sieve, or cloth, into a basin


will

be firm and clear

much

as

parchment in 8 oz. of water

reduced one-half; skim off any impurities that

when

you want, and warm

leave

it

it till

through a
cold,

fine

when

it

required for use, cut off as


it.

Use while warm.

TO ORNAMENTAL LEATHER WORK.

TO MAKE STIFFENING WHICH

IS

NOT

AFFECTED BY DAMP.

Mix,

cold,

2 oz. of Australian red gum,

orange shellac, | pint


bottle,

and shake

dissolved;

it

and

strain,

spirits

it

is

preferable to the above size,


dries

quicker,

affected

is

by damp

of wine; put
till

up occasionally
fit

as

for
it

use.
is

the

change of weather.

of

into a

gums

This

is

are
far

more hardening,

always ready for use, and


in

6 oz.
all

is

never

REVELL

COMPLETE GUIDE

TO MAKE MAHOGANY VARNISH STAIN,

WHICH DRIES

iMI.:

cold,

Ib.

and

it is fit

for use.

A FEW MINUTES.

Australian red

shellac, 1 pint spirits of

shake occasionally,

IN

till

wine
the

gum,

-j

Ib.

garnet

put them in a bottle, and

gum

is

dissolved

The above makes

strain,

a capital varnish

for leather of all kinds, especially for the leather covers

of old books

it

preserves them, and gives an appearance

almost equal to new.

TO ORNAMENTAL LEATHER WORK.

SPIRIT

OAK VARNISH STAIN

Can be made by adding

to the above

mahogany

a small portion of vegetable black, and shaking


well incorporated.
surfaces

To

we have found

same manner

as a

it

stain,
till

up

use the spirit oak stain on larger


it

preferable to apply

French polish

and wax be perfectly rubbed

it

in the

let all

namely,

dirt

with fine glass paper,

off

till

quite smooth, then make a flannel rubber in the form

of a printer's dabber, put a

and put a clean


oil,

calico

little

rag over

it

stain

on the dabber,

apply a

little

linseed

with your finger, to the calico, and commence rub-

bing over a small space, in a circular direction (never


suffering the rubber to remain
it

become

on,

till

on any

tacky, then apply a

little

the stain on the rubber

the stain

become too thick

to

is

part),

more

till

oil,

exhausted.

work

freely,

you

feel

and so
Should

add a few

REVELL'S COMPLETE GUIDE

78

drops of spirits of wine, and shake

When you
it

have raised a

it

well together.

over the surface,

fine polish

remain a few hours to harden, then take a clean

and just damp

calico,

it

with

let

bit of

of wine, rub

spirits

it

lightly over the surface in a circular direction, which,

repeated two or three times, will clear off


leave the

most

In this latter process of finishing


cautious not to

damp

instantly destroy

and not

often,

carved work
directed,

The

tum

it

it

all

the polish

suffer
is

it

fire,

letting

think

it

change the rag

it

For

as before

stain with a camel's-hair brush,


it

dry between each application.

is

that
is

made with

asphal-

attended with great

best not to give the particulars

Can be procured cheaper than

quantities.

you must be

on any part.

only necessary to clean

best oak varnish stain

we

off,

also, to

to remain

but, as the manufacturing

danger,

smears, and

the rag too much, for that would

and apply the

by a gentle

all

beautiful gloss ever seen.

it

could be

made

and

in small

ORNAMENTAL LEATHER WORK.

TO

79

TO PRESERVE LEAVES AND KEEP THEM


FORM FOR IMITATION.
Procure 1

Ib.

or

more of white

starch powder,

well in an open dish before the

when

side to cool,

fire,

it

put

IN

dry

it

on one

quite cool, put a layer of half an inch

bottom of a small box, observing that the box

at the

also is dry

summer
starch

day,

powder

gather the leaves,

if

on a

possible,

fine

and lay as many leaves gently on the


at the

bottom of the box as can be done

without interfering with each other, then sprinkle starch

powder over them, and shake


settles all

are

it

down

so that the

round above and below the leaves

powder

until

they

completely covered, and about half an inch of the

starch

powder above them, then put another layer of

leaves,

and proceed with the starch powder as before

until the

box

is

filled,

then press the top part, quite

of starch powder, fastening the lid of the

down

until the leaves are required.

Ferns and

full

box firmly
flat

leaves

can be preserved by placing them between sheets of


blotting paper under a weight.

80

REVELL'S COMPLETE GUIDE

TO GILD LEATHER WORK.

The materials necessary for gilding of

A
A

Gilder's Knife.
ditto Cushion.

Some Gold

One

Leaf.

Cotton Wool.

little

A few
A

this kind are

Camel's Hair Pencils.

or two Hog's Hair Tools.

Tip.

Oil Gold Size.

Fat Oil.

Drying

Oil,

and a

Burnishing Stone.

They

cost only a few shillings,

very long time.

and with care

last

TO ORNAMENTAL LEATHER WORK.


Size the
cut

wood work

the leaves, and

all

ner ; size them

down

secure

it

twice over with parchment size,

make the

flowers in the usual


;

and glue them when tacks would look

needle points are very useful in this

firmly,

parts are dry

man-

over twice with parchment size nail them

all

to the frame,

unsightly

Si

and cut them short

all

work

to

when the glued

off

the flowers and leaves being attached,

go over the entire work again with parchment size very


thinly

the parchment size

the size

is

dry,

mix well

must he used warm

in a cup

vessel about an ounce of oil gold size,


parts of

fat

oil

the consistence of
it

and drying

and with equal

thin the gold size to

oil

brush equally and very thinly

for

when

cream take a hog's-hair tool, and with


all

over every part that

can be seen with this prepared gold


side

or any clean earthen

size, set it

an hour or two or more, until

it

on one

has become

almost dry, and just sticks to your fingers when touched:


it

must now be gilded

book of

gold, handling

all
it

draft, as a current of air

over,

quietly,

and to do

this,

take a

and mind there

would blow

all

the gold

is

no

away

turn out of the book two or three leaves of gold upon

REVELL'S COMPLETE GUIDE

82

the cushion, and blow gently upon the centre of each


leaf,

to

make them

lay flat on the cushion

with the

gilder's knife cut the gold leaves into the sizes required

to cover the

work, and with the

tip or the gilder's knife

take up the gold from the cushion and lay

frame

till it is

covered, pressing the gold

it all

over the

down with a large

camel hair tool or a piece of cotton wool, taking care not


to rub

it

backward or forward, but to put

down on

to the

work

it

very straight

should there be any holes

left,

cut small pieces of gold leaf and lay over them, pressing

the gold down, proceeding in the above

frame

is

covered

to dry an

all

over with gold

it

manner

till

the

must then be

left

hour or two, and when dry brush

all

the loose

gold off with a large camel hair or badger's hair tool,

and the gilding

is

completed.

Leather work gilded by

the above process will bear washing, and

durable kind of gilding known.

is

the most

TO ORNAMENTAL LEATHER WORK.

83

TO BURNISH COLD.

and any wooden part attached to leather work

u:

ran be burnished, which adds

work, and
of the

is

much

to the variety of the

done in the following manner

work intended

to be burnished

that part

must be prepared

exactly as above, except that instead of using the pre-

pared

oil

gold size take the white of an egg and give the

work a coat

of

it,

let

it

dry, then give

and when nearly dry see that


the gold leaf

all

over

hard; then burnish

it

leave

it

it

it

another coat,

lays on 'evenly

applv

an hour or two to becorrn

by rubbing

it

all

over with a bur-

84

REVELL

COMPLETE GUIDE

wishing stone or any very hard and perfectly smooth

This burnish gilding

substance.

than the
durable.

oil

is

far

more

gold, but will not wash, and

brilliant

is

not so

TO ORNAMENTAL LEATHER WORK.

85

BEE HIVES.

Bee Hives can be made with


Cut a piece of wood
wind and glue upon
and

it

finishing off at the

leather stems, as follows

to the shape

and

size required

the stems, beginning at the top

bottom.

To

join

to hold

them

liquid

tie

the hive

visible

can be cut

is

fit

a piece of thread round

tightly together until the

When

To

glue, and

join the stems as

you proceed, cut each end to an angle, so that they

them with

glue

is

completed, that portion of thread

dry.
left

off.

imitate the tying seen in hives,

mark with

a pen,

or a camel's hair pencil, with the darkest stain, lines and

dots from top to bottom

lower

tier to

make the

cut a small piece out of the

entrance, and put a

at the top with a piece of stem.

little

handle

RKVELL

si)

When made

as above,

COMPLETE GUIDE
on wood, and well glued, they

can be sawn in halves, thus making two. Placed amongst


foliage, frames, &c.,

a pleasing effect.

they are quite in keeping, and have

TO ORNAMENTAL LEATHER WORK.

S7

TO PAINT ORNAMENTAL LEATHER WORK.

Use

finely

powdered

colours,

and mix them to the

consistence of cream, with the following

the white of an

egg with 2

medium

Mix

oz. of pure distilled vinegar

put them into a bottle and shake them well together

whenever you are about to mix any colours with

mix

the colours with parchment size

warm

or

mix them with a weak

and, in either case, varnish


pale varnish,

solution of

them with

it

or

use while

gum arabic

a quick drying

Oil colours will not do for painting this

kind of materials

any of the above mediums, properly

prepared, will answer well.

with brilliant

warmed

effect.

Gilding

may be

interspersed

REVELL

COMPLETE GUIDE

A QUICK MODE OF STAINING.

The qucikest mode

Work

is

as follows

of staining the Ornamental Leather

Procure a bottle of

CHYMICAL OAK COLOUR STAIN.


not
will

soil

REVELL'S

This preparation will

the hands, or the finest linen or woollen fabrics

not stain

wood

leather to which

it

is

or any other substance than the


applied, to

which

perfect appearance of old oak without

it

imparts the

any

gloss, at the

same time hardening the leather without injuring

it.

TO ORNAMENTAL LEATHER WORK.

89

DIRECTIONS FOR USE.

Having your

leaves,

c.,

cut out and dried, pour

copiously with a camel's hair brush,

all

back and front, particularly the edges

damp

some

and apply

of the contents of this bottle into a saucer,

it

over the leaves,

bend them while

you wish them to appear upon the finished

as

work, then dry them rather quickly


tance from the

fire,

at a

moderate

or in a current of air

dis-

when dry

they are ready for use.

The
and
it

leaves, &c., can be attached to

it is

completed.

When

any form of work,

the entire work

can be varnished at pleasure, as follows

bottle of
entire

RKVELL'S

OAK

work an even coat

is

complete,

Procure a

SPIRIT STAIN, and give the


of

it

it

dries in a few minutes,

and has the appearance of polished oak.

REVEbl/S COMPLETE GUIDE

90

TO STAIN WOODEN ARTICLES.

If all the

work

to

is

in dull if

To

ner.

put upon

be

left

OAK

bracket, &c., a coat of

dull,

give the frame or

SPIRIT STAIN, which dries

new wood,

not prepared in any

prepare wooden frames, &c., so that the

SPIRIT STAIN shall assume a polished surface,


necessary to size the frame well and leave

when

it

dry, give

one or more coats of

it

OAK

man-

OAK
it

is

to dry;

SPIRIT

STAIN.

Those who prefer making the Oak


do so by
with

referring to the receipt in this

little

tralian

Red

trouble,

Gum

and, although

and
a

many

when they have

is

composed

new article

book

it is

principally of

made
Aus-

most of our readers

druggists, &c., have procured

received orders for

say, in several instances, they


article

to

Spirit Stain, can

of that description;

it,

we

it

are sorry to

have said there was no

or else have substituted a

TO ORNAMENTAL LEATHER WORK.

91

kind of gum, perfectly worthless for

different

this

pose ; consequently, disappointment has ensued

pur-

and in

order to protect the public from being imposed upon,

and ourselves the disgrace of publishing anything not


practicable,

we came

we

to use

In the

are obliged, in self-defence, to state

month

of January,

1852, the publisher was

would dry quickly,

applied to for a varnish stain that

and

at the

making
the

how

it.

same time be the colour required

experiments for this purpose,

TIMES newspaper

he was

when, taking up

of Friday, January 23rd, he found,

under the heading of SOCIETY OF AKTS, an epitome of


Professor

EDWARD SOLLY'S

lecture, at the

above Society

on the previous Wednesday, on vegetable substances


used in the Arts, &c.
red

Allusions were "made to a fine

gum from New South Wales

lecture,

and then,

he procured the

after a little trouble, obtained

samples

they were tested, and one was found to answer, and he


has

now

in stock several tons

making the

stain,

of the proper

and can supply

it

in

kind for

any quantity.

REVELL'S COMPLETE GUIDE.

92

We

will

now

conclude by directing the student to an

attentive observance of nature


possible, technical terms

trations will, in
this

mode

most

we have

avoided, as far as

where they are used the

cases, explain

illus-

The study

them.

of decoration has often led those

who had

of

not

before observed the varied beauties of the floral world to

do so with the greatest


results.

pleasure

and

the

happiest

SHAW'S LIQUID CLUE


Requires no preparation, sets almost immediately, will

and climate

resist wet, violence, time,

adheres to any

surface or material; cements china, marble, wood, paper,


leather, &c.

is

useful to shipbuilders, carpenters, book-

binders, pianoforte, brush,

and toy makers; and

easy of application, that ladies and gentlemen


their

own

so

is

may mend

china, ornaments, toys, veneers, mouldings,

parasols, book-covers,

and a hundred other

little articles,

with the greatest ease and certainty.

Price 6d.

and

per Bottle.

Is.

SOLD WHOLESALE AND RETAIL BY


J.

REVELL,

MESSRS.

272,

OXFORD STREET

BARCLAY &

MESSRS. SUTTON

&

Co.,

Co.,

FARRINGDON STREET

Bow CHURCHYARD

AND TO BE HAD OF ALL

OILMEN, CHEMISTS, FANCY STATIONERS,


&c., &c.

LIST OF MATERIALS,

&c.,

LEATHER WORK.
SOLD BY
J.

REVELL,

272,

OXFORD STREET.

Basil Leather, of the first quality, at Is. Cd.

and

2s.

per skin.
Skiver ditto, ditto, at

Leather Leaves,

6d.

ditto.

per

dozen,

or

4s.

per

gross,

assorted.

Leather Stems and Tendrils, 2d. each.


Passion Flowers, Roses, &c., from 6d. to 2s. 6d. each.

Convolvulus

and other

less

elaborate

2d. each.

Holly and Ivy Berries, Gd. per bundle.


Acorns, Is. per dozen.

Flowers,

from

Oak Varnish

Stain, Is. per bottle.

Spirit

Oak

Spirit

Mahogany ditto,

Rev-ell's

Is.

ditto,

Chymical

Is.

ditto,

,,

which possesses the property

of staining the leather used for this work, and will

not

soil

the finest linen, neither will

or any other material than leather.

warm.

either cold or

It

it

invention

of

the

requested to observe his

publisher,

name and

This being

purchasers

Wood

Stains.

Stains and Varnishes of every description.

Saucers for the

Oak

Stain, &c., Is. per doz.

Shaw's Liquid Glue, without smell,


Ditto,

Is.

per bottle.

Old kind, 6d.

Prepared Stiffening, Is.

Veining Tools,
Cutting

ditto,

Grape Moulds,

Is. 6d. each.

Is.

2s. 6d. per set.

are

address on each

seal.

Stephens'

wood,

Sold, with full directions for

use accompanying each bottle, price is.


the

stain

can be applied

,,

Gd.

Bradawls,

Hammers,
Wire

each.

Is. 3d.

,,

of different sizes.

Hog's Hair Brushes, 3d.

to 6d, each.

Camel's Hair Pencils, from Id.

And

variety

of Brackets,

Frames,

&c., for Orna-

menting.

NTLD BY

S.

ODEJ,L, 18, PRINCES STREKT,

CAVENDISH SQFA

LIST OF VARIOUS ARTICLES,


SOLD BY

JAMES RETELL,

272,

OXFORD STREET, LONDON.

Oil Colours in Patent Collapsible Tubes,


Of various sizes, and in Extra Fine Powder.
Cremnitz White
Flake White
Nottingham White

Ultramarine
Ultramarine Ashes

Purple Madder
Light Red
Venetian Red
Indian Red, 1, 2

Brown Red

Raw

Cohalt

Royal Smalt
French Ultramarine
Permanent Blue
Antwerp Blue
Prussian Blue

Sienna

Burnt Sienna

Brown Ochre
Burnt Brown Ochre

Roman Ochre
Burnt Roman Ochre

Indigo

Vandyke Brown

Yellow Ochre
Indian Yellow
Chrome, 1, 2, 3
Italian Pink
Yellow Lake
King's Yellow

Brown Pink
Madder Brown

Lemon

Yellow,

Raw Umber

Burnt Umber

Cologne Earth
1,

Dutch Pink
Naples Yellow

Bone Brown
Cappa Brown
Asphaltum
Bitumen

Lake

Mummy

Purple Lake
Indian Lake

Verdigris

Crimson Lake
Scarlet

Lake

Emerald Green
Terra Vert
Chrome Green,

Oxyde

Red Chrome

Blue Black
Lamp Black
Sugar of Lead

Carmine

Madder Lake
Rose Madder
Pink Madder

of

1, 2,

Chromium

Chinese Vermillion
Orange Vermillion

Ivory Black

Gumption
Magylph

Sable Hair Pencils.


For Oil

or Water.

Pencil Sticks.
Cedar,

Large Goose, Brown or Red


ditto
Small ditto

Duck

ditto

Crow

ditto

Round

ditto

Ivory,
15 in.

&

Badger Softeners.

Small Swan

Large

Ebony,
12

6,

&;

Flat.

Nos. 1,2, 3,4,5,6,7,8,9,10,11, 12-

Miniature

Lining or Rigging
Writing and Striping

Palette Knives.

French Sables.
IN TIN FOR WATER.

Red
Nos.

or

Brown.

1, 2, 3, 4,

Sables for
Round

Sf

5, 6.

Port Crayons.

Flat.

French Brushes.
Sf

Do.
Ivory Handles
Do. Spatula Shape, Hrrn
Handles
ditto
Do.
do.
Ivory

Oil.

Nos. 1,2,3,4,5,6,7,8,9,10,11,12.

Flat

Horn and Ivory


Steel, with Horn or Bone Handles

Ronnd.

Albata, snd Bra

Steel,

Brush Washers for


Turpentine.

Nos. 1,2,3,4,5,6,7,8,9, 10,1 1,12.

Nos,

1,

2,

3,

4.

Camel Hair Pencils,


All Sizes, Long and Short.

Camel Hair Brushes,


In Flat Tins.

inch

If inch
2
"
24

Oils

and Varnish.

Turpentine
Cold Drawn Linseed Oil
Nut and Poppy Oil

Spirits

Drying

Oil, pale or strong

Fat Oil

Japan Gold Size


Mastic Varnish
Copal Varnish

White Hard

Camel Hair Brushes.


In Round Tins.

Nos.

8.
1, 2, 3, 4, 5, 6, 7,

Asphaltum

Magylph
Gumption

Spirit

Varnish

Extra Pine Cake and Moist Water Colors,


IN

Permanent White
Constant White
Flake White
Chinese White
Ultramarine
Ultramarine Ashes
Cobalt

Azure Blue
Royal Smalt
French Ultramarine
Permanent Blue
Antwerp Blue
Prussian Blue
Indigo
Intense Blue

CAKES AND HALF CAKES.

Lake
Crimson Lake
Scarlet Lake
Dark Lake
Indian Lake
Vermillion
Extract Vermillion
Scarlet Vermillion

Carmine
Burnt Carmine
Dragon's Blood

Madder Lake
Rose Madder
Pink Madder
Pure Scarlet
Dahlia Carmine

French Blue

Indian

Red

Gamboge

Light Red
Venetian Red

Yellow Ochre

Brown Red

Indian Yellow

Lemon Yellow

Red Orpiment
Red Chalk
Red Chrome
Deep Rose

Italian

Chrome, 1, 2, 3
Pink

Raw

Dutch Pink
Yellow Lake
Mars Yellow

Burnt Sienna
Brown Ochre
Roman Ochre
Burnt Roman Ochre

Platina Yellow

Gall Stone

King's Yellow
Naples Yellow
Patent Yellow

Sienna

Vandyke Brow:i
Verona Brown,
Sepia

Orange Orpiment
Orange Red
Mars Orange
Orange Vermillion

Warm

Sepia
Roman Sepia

Raw Umber

Burnt Umber

1, 2,

Water Colors,

(continued.)

Miscellaneous.

Revell's

Permanent Brown Ink,

FOR DRAWING UPON BASIL LEATHER.


Price Is. per Bottle.

Pen and Ink Drawings can be made with

this Ink, they have all


the appearance of the so-called Poker Paintings, (viz. Drawings
upon Wood, executed with one or more red hot wires.) The Ink
is permanent, and will be found advantageous as an adjunct to the

Ornamental Leather Work.

Unprepared Colours of the Pirst Quality.

Colours of every description for House Painting,

Park Fencing,

Centres d'intérêt liés