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Bermingham, Ann

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Ann Bermingham

Learning to Draw: Studies in the Cultural History of a Polite and Useful Art

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Ann Bermingham

PublisherPaul Mellon Centre

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———. The Works of John Ruskin. Edited by E.T. Cook and Alexander Wedderburn. 36 vols. London: George Allen; New York: Longmans, Green, 1903–12.

Russell, Colin Archibald. Science and Social Change, 1700–1900. London: Macmillan, 1983.

Russell, Conrad. The Causes of the English Civil War. Oxford: Clarendon Press, 1990.

Rye, William Brenchley, ed. England as seen by Foreigners in the Days of Elizabeth and James the First, with extracts from the travels of foreign Princes and others. New York: B. Bloom, 1967.

Salmon, Vivian. The Study of Language in Seventeenth-Century England. Amsterdam: Benjamins, 1979.

Saunders, Gill. Picturing Plants: An Analytical History of Botanical Illustration. London: Zwemmer in association with the Victoria and Albert Museum, 1995.

Schaaf, Larry, ed. Records of the Dawn of Photography: Talbot’s Notebooks P & Q Cambridge: Cambridge University Press, 1996.

Scrase, David. Flowers of Three Centuries: One Hundred Drawings and Watercolours from the Broughton Collection. Washington, D.C.: International Exhibitions Foundation, 1983.

Seaton, Beverly. The Language of Flowers: A History. Charlottesville and London: University Press of Virginia, 1995.

Sedgwick, Eve. Between Men: English Literature and Male Homosocial Desire. New York: Columbia University Press, 1985.

Sha, Richard C. The Visual and Verbal Sketch in British Romanticism. Philadelphia Penn.: Pennsylvania University Press, 1998.

———. “A Genre Against Genre: The Visual and Verbal Sketch in British Romanticism.” Genre 28 (1995).

Shapin, Steven. A Social History of Truth: Civility and Science in Seventeenth-Century England. Chicago and London: The University of Chicago Press, 1994·

———. “Ά Scholar and a Gentleman’: The Problematic Identity of the Scientific Practitioner in Early Modern England.” History of Science 29 (1991): 19–24; 296–7.

Shapin, Steven and Simon Schaffer. Leviathan and the Air-Pump: Hobbs, Boyle, and the Experimental Life. Princeton: Princeton University Press, 1985.

Sharpe, Kevin. Politics and Ideas in Early Stuart England: Essays and Studies. London: Printer Publishers, 1989.

Shee, Martin Archer. Rhymes on Art; or, The Remonstrance of a Painter. Philadelphia: John F. Watson, 1811.

Sheridan, Thomas. British Education; or, The Source of the Disorders of Great Britain. New York: Garland Publishing, 1970.

Shiff, Richard. “Phototropism (Figuring the Proper).” Studies in the History of Art 20 (1989): 161–79.

Sieberling, Grace with Carolyn Bloore. Amateurs, Photography, and the Mid-Victorian Imagination. Chicago and London: The University of Chicago Press, 1986.

Slaughter, M.M. Universal Languages and Scientific Taxonomy in the Seventeenth Century. Cambridge, London, and New York: Cambridge University Press, 1982.

Sloan, Kim. The Art of Alexander and John Robert Cozens. New Haven: Yale Center for British Art, exh. cat., 1980.

———. “Drawing – A Polite Recreation in Eighteenth-Century England.” Studies in Eighteenth-Century Culture 2 (1982): 217–40.

———. “A New Chronology for Alexander Cozens, Part II: 1759–1786.” Burlington Magazine 76 (1985): 354–63.

Sloan, Kimberly Mae. “The Teaching of Non-Professional Artists in eighteenth-Century England.” Ph.D. diss., Westfield College, University of London, 1986.

Smith, Adam. The Theory of Moral Sentiments. London: Cadell & Davis, 1812.

Smith, Frank. A History of English Elementary Education, 1760–1902. New York: Augustus M. Kelley, 1970.

Smuts, R. Malcolm. Court Culture and the Origins of a Royalist Tradition in Early Stuart England. Philadelphia: University of Pennsylvania Press, 1987.

Society of Research into Higher Education. Art Education: Documents and Policies, 1768–1975. Edited by Clive Ashwin. London: Society of Research into Higher Education, 1975.

Solkin, David. Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England. New Haven and London: Yale University Press, 1993.

———. Richard Wilson: The Landscape of Reaction. London: Tate Gallery, exh. cat., 1982.

Solomon-Godeau, Abigail. Male Trouble: A Crisis in Representation. New York: Thames & Hudson, 1997.

Spacks, Patricia, Ann Meyer, and W.B. Carnochan. A Distant Prospect: Eighteenth-Century Views of Childhood. Los Angeles: William Andrews Clark Memorial Library, University of California, Los Angeles, 1982.

Sprat, Thomas. History of the Royal Society. Edited by Jackson I. Cope and Harold Witmore Jones. St. Louis: Washington University Press, 1958.

Spinka, Matthew. John Amos Comenius: That Incomparable Moravian. New York: Russell & Russell, 1967.

Spufford, Margaret. Small Books and Pleasant Histories: Popular Fiction and Its Readership in Seventeenth-Century England. London: Methuen, 1981.

Stallybrass, Peter and Allon White. The Politics and Poetics of Transgression. London: Methuen, 1986.

Stainton, Lindsay and Christopher White. Drawing in England from Hilliard to Hogarth. London: British Museum Publications, 1987.

Stanton, Domna C. The Aristocrat as Art: A Study of the Honnête Homme and the Dandy in Seventeenth- and Nineteenth-Century French Literature. New York: Columbia University Press, 1980.

Standring, Timothy J. “Watercolour Landscape Sketching During the Popular Picturesque Era in Britain.” In Glorious Nature: British Landscape Painting, 1750–1850. New York: Hudson Hills Press, 1993.

Stebbins, Robert A. Amateurs: On the Margin between Work and Leisure. London: Sage Publications, 1979.

———. Amateurs, Professionals and Serious Leisure. Montreal and Kingston: McGill-Queen’s University Press, 1992.

Stephens, W.B. Education, Literacy, and Society, 1850–70: The Geography of Diversity in Provincial England. Manchester: Manchester University Press, 1987.

Stewart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Baltimore: Johns Hopkins University Press, 1984.

Stone, Lawrence. The Crisis of the Aristocracy, 1558–1641. London, Oxford, and New York: Oxford University Press, 1978.

———. The Causes of the English Revolution, 1526–1642. New York: Harper Torchbooks, 1972.

———. ed. Schooling and Society: Studies in the History of Education. Baltimore: Johns Hopkins University Press, 1976.

Strong, Roy. Artists of the Tudor Court: The Portrait Miniature Rediscovered, 1520–1620. London: Victoria and Albert Museum, exh. cat., 1983.

———. The English Icon: Elizabethan and Jacobean Portraiture. New Haven: Yale University Press, 1969.

———. The English Renaissance Miniature. London: Thames & Hudson, 1983.

———. Holbein and Henry VIII. London: Routledge & Keegan Paul and the Paul Mellon Foundation for Studies in British Art, 1967.

———. Van Dyck: Charles Ion Horseback. New York: Viking Press, 1972.

Stukeley, William. Itinerarium Curiosum: or, an account of the Antiquities, and remarkable Curiosities in Nature or Art, observed in travels through Great Britain. 2d ed. London: Messrs. Baker & Leigh, 1776.

Styles, John. “Manufacturing, Consumption and Design in Eighteenth-Century England.” In Consumption and the World of Goods, edited by John Brewer and Roy Porter. London: Routledge, 1993.

Summers, David. The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics. Cambridge: Cambridge University Press, 1987.

Talbot, William Henry Fox. The Pencil of Nature. London: Longman, Brown, Green & Co., 1844.

Taylor, Charles. Sources of the Self: The Making of Modern Identity. Cambridge, Mass.: Harvard University Press, 1989.

Templeman, William Darby. The Life and Work of William Gilpin (1724–1804), Master of the Picturesque and Vicar of Boldre. Urbana: University of Illinois Press, 1939.

The Case of Designers, Engravers, Etchers, &ct. Stated in a letter to a Member of Parliament, c. 1735; reprint, New York: Columbia University Press, 1975.

Theobauld, Marjorie R. “The Accomplished Woman and the Property of Intellect: A New Look at Women’s Education in Britain and Australia, 1800–1850.” History of Education 17 (1988): 20–31.

Therborn, Göran. The Ideology of Power and the Power of Ideology. London: Verso and N.L.B., 1981.

Thirsk, Joan. The Agrarian History of England and Wales. Vol. 4: 1500–1640. Cambridge: Cambridge University Press, 1967.

Thomas, Keith. Man and the Natural World: Changing Attitudes in England, 1500–1800. New York and Oxford: Oxford University Press, 1983.

Thornton, Peter. Seventeenth-Century Interior Decoration in England, France, and Holland. New Haven: Yale University Press and the Paul Mellon Centre for Studies in British Art, 1978.

Tillyard, Stella. Aristocrats: Caroline, Emily, Louise, and Sarah Lennox, 1740–1832. New York: Farrar, Straus & Giroux, 1994.

Tribby, Jay. “Body/Building: Living the Museum Life in Early Modern Europe.” Rhetorica 10, no. 2 (Spring 1992): 43–67.

Underdown, David. Revel, Riot and Rebellion: Popular Politics and Culture in England, 1603–1660. Oxford and New York: Oxford University Press, 1987.

Vasari, Giorgio. The Lives of the Most Excellent Painters, Sculptors, and Architects. 4 vols. Translated by A.B. Hind. Edited by William Gaunt. London: J.M. Dent & Sons, Ltd., 1963.

Vincent, David. Literacy and Popular Culture: England, 1750–1914. Cambridge and New York: Cambridge University Press, 1989.

Wakefield, Priscilla. An Introduction to Botany, in a Series of Familiar Letters, with Illustrative Engravings. Boston: L. Belcher, 1811.

Walker, John. “Maria Cosway: An Undervalued Artist.” Apollo 123 (May 1986): 318–24.

Warner, The Reverend Richard. A Walk through Wales in August 1797. Bath: R. Cruttwell; London: C. Dilly, Poultry, 1798.

Weatherill, Lorna. Consumer Behaviour and Material Culture in Britain, 1660–1760. London: Routledge, 1988.

Weaver, Mike, ed. Henry Fox Talbot: Selected Texts and Bibliography. Boston, Mass.: G.K. Hall & Co., 1994.

Wedgwood, Josiah. Catalogue of cameos, intaglios, medals, bas-reliefs, busts and small statues; with a general account of tablets, vases, ecritoires, and other useful and ornamental articles. 6th ed. Etruria, 1787.

West, Thomas. A Guide to the Lakes in Cumberland, Westmoreland and Lancashire. 2d ed. London: W. Richardson, J. Robson, W. Pennington, Kendal, 1780.

Whigham, Frank. Ambition and Privilege: The Social Tropes of Elizabethan Courtesy Theory. Berkeley: University of California Press, 1984.

White, Lynn Townsend. Medieval Technology and Social Change. Oxford: Clarendon Press, 1962.

Whitney, Lois. Primitivism and the Idea of Progress in English Popular Literature of the Eighteenth Century. 2d ed. New York: Octagon Books, 1965 (1934).

Wilkinson, Sir J. Gardner. On Colour and the Necessity for a General Diffusion of Taste among All Classes. London: Murray, 1858.

Willey, Basil. The Seventeenth-Century Background: Studies in the Thought of the Age in Relation to Poetry and Religion. London: Chatto & Windus, 1942.

Williams, Iolo A. Early English Watercolours, and Some Cognate Drawings by Artists Born Not Later Than 1785. 1st ed. Reprinted with an introduction by Edward Croft-Murray and Malcolm Cormack. Bath: Kingsmead Reprints, 1970.

Williams, Raymond. The Country and the City. New York: Oxford University Press, 1973.

———. Culture and Society, 1780–1950. London: Chatto & Windus, 1960.

———. The Long Revolution. New York: Columbia University Press, 1961.

Williams, Robert. Art, Theory, and Culture in Sixteenth-Century Italy: Techne and Metatechne. Cambridge: Cambridge University Press, 1997.

Wilson, Thomas. The Arte of Rhetorique. Introduction by Robert Hood Bowers. 1553; Facsimile reproduction, Gainesville, Fla.: Scholars’ Facsimiles & Reprints, 1962.

Wiltenberg, Joy. Disorderly Women and Female Power in the Street Literature of Early Modern England and Germany. Charlottesville and Fondon: University of Virginia Press, 1992.

Winnicott, D.W. Playing and Reality. New York: Basic Books, Inc., 1971.

Woldbye, Vibeke, ed. Flowers into Art: Floral Motifs in European Painting and Decorative Arts. The Hague: S.D.U. Publishers, 1991.

Wollheim, Richard. On Drawing an Object: An Inaugural Lecture Delivered at University College, London, 1 December 1964. Fondon: H.K. Lewis, 1965.

Wollstonecraft, Mary. Vindication of the Rights of Woman. Edited by Mary Kramnick. Harmondsworth, Middlesex: Penguin Books, 1978.

Wood, Jeremy. “Inigo Jones, Italian Art, and the Practice of Drawing.” Art Bulletin 74 (1992): 247–70.

Wood, Fucy. “George Brookshaw: The Case of the Vanishing Cabinet-Maker: Part I” and “George Brookshaw: ‘Pientre Ebeniste par Extraordinaire’: The Case of the Vanishing Cabinet-Maker: Part 2.” Apollo (May–June 1991): 301–06, 383–97.

Woodbridge, Linda. Women and the English Renaissance: Literature and the Nature of Womankind, 1540 to 1620. Urbana: University of Illinois Press, 1984.

Woodmansee, Martha. The Author, Art, and Market: Rereading the History of Aesthetics. New York: Columbia University Press, 1994.

Woodward, John O. Tudor and Stuart Drawings. London: Faber & Faber, 1951.

Wright, Edward. Some Observations made in Travelling through France, Italy, & c. in the years 1720, 1721 and 1722. 1st ed. London: Tho. Ward & E. Wicksteed, 1730.

Yeldham, Charlotte. Women Artists in Nineteenth-Century France and England: Their Art Education, Exhibition Opportunities and Membership in Exhibiting Societies and Academies, with an Assessment of the Subject Matter of their Work and Summary Biographies. 2 vols. New York and London: Garland Press, 1984.

Yolton, John W. John Locke and Education. New York: Random House, 1971.

Young, Alan R. Henry Peacham. Boston: Twayne Publishers, 1979.

Young, Robert Fitzgibbon. Comenius in England. New York: Arno Press, 1971.

Zagorin, Perez. Ways of Lying: Dissimulation, Persecution, and Conformity in Early Modern Europe. Cambridge, Mass.: Harvard University Press, 1990.

Zerner, Henri. “Alexander Cozens et sa méthod pour l’invention des paysages.” L’Oeil 137 (1966): 29, 32–3.

Zimmerman, Everett. The Boundaries of Fiction: History and the Eighteenth-Century Novel. Ithaca and London: Cornell University Press, 1996.

2. Artists’ Handbooks, Drawing and Painting Manuals, and Pattern Books

Ackermann, Rudolph. Lessons for Beginners in the Fine Arts. London: R. Ackermann, 1796.

———. Thirteen Plates Illustrating Rustic Figures. London: R. Ackermann, 1798.

———. Instructions for Painting Transparencies. London: Ackermann, 1800.

———. Six Progressive Lessons for Flower Painting. London: R. Ackermann, 1802.

———. Ackermann’s New Drawing Book of Light and Shadow in Immitation of Indian Ink. 1st ed. London: R. Ackermann, 1809; 2d ed., 1812.

———. Easy Principles for Drawing the Human Figure from Bartolozzi and Cipriani. London: R. Ackerman, 1815.

———. Ackermann’s New Drawing Book for 1824. London: R. Ackermann, 1824.

———. Ackermann’s Drawing Book of Trees. London: Ackermann and Co., 1841.

Alken, Henry. Illustrations for Landscape Scenery. London: S. &J. Fuller, 1821.

Alston, J.W. Hints to Young Practitioners in the Study of Landscape Painting. Illustrated by Five Engravings Intended to show the Different Stages of the Neutral Tint; to which are added instructions in the art of painting on velvet. London: Longman, Hurst, Rees & Orme, 1804.

Angelo, Michael. The Drawing School for Little Masters and Misses: Containing the most easy and concise rules for learning to draw without the assistance of a teacher. Embellished with a great variety of figures curiously designed to which are added the whole art of kite making; and the author’s new discoveries in the preparation of water colours. London: T. Carnan, 1773.

The Artist’s Repository; or, Encyclopaedia of the Fine Arts. London: Charles Taylor, 1808.

Artlove, Mrs. The art of Japanning, Varnishing, Pollishing and Guilding. Being a collection of very plain directions and receipts. Written for the use of those who have a mind to follow those diverting and useful amusements, and published at the request of several ladies of distinction. London: T. Warner, 1730.

The Art of Drawing and Painting in Watercolours, whereby a stranger to those arts may be immediately render’d capable of delineating any view or prospect with the utmost exactness; of colouring any print or drawing in the most beautiful manner; and of taking off metals instantly, by various ways, not yet known. With instructions for making transparent colours of every sort; partly from some curious personages in Holland, France and Italy; but chiefly from a manuscript of the great Mr. Boyle; particularly a receipt of that gentleman’s for making a blue colour equal to ultramarine. London: J. Peel, 1731.

Arts Companion; or, A New Assistant for the Ingenious. In three parts. Part I. Containing the Art of Drawing in Perspective . . . Drawing with Crayons . . . Painting on Glass; Instructions for Etching on Copper Plate . . . Japanning upon Glass, Wood or Metal . . . Part II. Containing the Art of Drawing and Painting in Water-colours . . . manner of taking off Medals . . . Part III. Containing the Art of Painting in Miniature . . . preparing Colours. 1729; reprint, Dublin: I. Jackson, 1749.

Arts Master-piece: or, A Companion for the Ingenious of Either Sex. London: G. Conyers, c.1710.

Bardwell, Thomas. The Practice of Painting and Perspective made Easy; in which is contained the Art of Painting in Oil. London: S. Richardson, 1756.

Barlow, Francis. A Booke Containing such Beasts as are Most Usefull for such as Practice Drawing, Graveing, Armes Painting, Chaseing, and for severall other occaisons . . . London: Henry Overton, n.d.

Barnard, George. Handbook of Foliage and Foreground Drawing. Illustrated by numerous examples of trees, shrubs, climbing, meadow and water plants. London: Ingram, Cook & Co., 1853.

———. The Theory and Practice of Landscape Painting in Water-Colours, Illustrated by a series of thirty drawings and diagrams in colours, and numerous woodcuts. By George Barnard, Professor of Drawing at Rugby School . . . London: Hamilton, Adams & Co., 1858.

———. Drawing from Nature: A Series of Progressive Instructions in Sketching. London: Ingram, Cook, & Co., 1865.

Barrow, John. Dictonarium Polygraphicum; or, The whole body of arts regularly digested. 2 vols. London: C. Hitch & C. Davis, 1735.

Bartsch, Adam. Catalogue rainsonné de toutes les estampes qui forment l’oeuvre de Rembrandt, et ceux de ses principaux imitateurs composé par les Sieurs Gersain, Helle, Glomy et P. Yver. New ed. Vienna: A. Blumauer, 1797.

Bate, John. The Mysteries of Nature and Art. In foure severall parts. The first of Water works. The second of Fire works. The third of Drawing, Washing, Painting, and Engraving. The fourth of sundry Experiments. 2d ed. Ralph Mabb: London, 1635.

Bickham, George. The Drawing and Writing Tutor; or, A New Method to learn those Arts without a master in English and French. London: printed by the author, c.1730.

———. The Young Clerk’s Assistant; or, Penmanship made Easy, Instructive and Entertaining: being a compleat pocket-copybook, curiously engrav’d for the practice of youth in the art of writing. London: R. Ware, 1733.

———. The Museum of the Arts; or, The Curious Repository, London: G. Bickham, c.1745.

———. An Introduction to the Art of Drawing Neatly Engraved by G. Bickham on Thirty-six Plates. London: R. Sayer, after 1747.

———. The Artist’s Vade Mecum; being the whole art of drawing taught in a new work, elegantly engraved on one hundred folio copper plates . . . to which is prefixed an essay on drawing in which the first principles of that useful and noble art are explained in such manner that it may be attained in a short time without a master. London: R. Sayer, 1762.

Bickham, George Jr. A New Collection of Landskips, &c. Engraved by G. Bickham, Junr. London: John Bowles, 1732.

Bisschop, Jan de. Signorum Veterum lcones. Amsterdam: n.p., 1668.

Bright, Henry Ackermann’s Rudimental Drawing Book for Beginners in Landscape. In 6 parts. London: Ackermann, 1843.

Bluck, J. Rural Views. London: T. Simpson, 1799.

———. Progressive Lessons for Drawing Landscapes. London: Ackermann, 1800.

———. Four Views in Gloucestershire and Worcestershire. London: Ackermann, 1801.

A Booke of Secrets shewing diuers waies to make and prepare all sorts of Inks, and Colours . . . and to grave with strong Water in Steel and Iron . . . necessary to be known to all scriveners, painters, and others that delight in such arts. Translated out of the Dutch into English by W.P. London: Edward White, 1596.

Booth, Joseph. An Address to the Public on the Polygraphic Art; or, The Copying or Multiplying Pictures in Oil Colours by a Chymical and Mechanical Process. London: T. Cadell, 1788.

Bowles, C. The Self-Instructor; or, Young Man’s Best Companion; being an introduction to all various branches of useful learning and knowledge containing writing, grammar, arithmetic, astronomy, geography, chronology, and miscellaneous articles. To which is added, the artist’s assistant; comprising the arts of drawing, perspective, etching, engraving, mezzotinto scraping, painting, dyeing, colouring of maps, etc. A brief account of naval and military affairs. Also, various useful medicinal receipts. Liverpool: Nuttall, Fisher & Dixon (1764).

Bowles, Carrington. The Artist’s Assistant, in drawing, perspective, etching, engraving, mezzotinto-scraping, painting . . . adapted to the capacities of young beginners. London: T. Kitchin, c.1770.

———. Art of Painting in Watercolours. London: printed by the proprietor, 1783.

———. The Draughtsman’s Assistant; or, Drawing Made Easy. Wherein the principles of the art are rendered familiar, in instructive lessons . . . London: R. Sayer & J. Bennett, 1795.

Brown, G. [George Brookshaw, pseud.]. A New Treatise on Flower Painting; or, Every Lady her Own Drawing Master: containing the most familiar and easy instructions; with directions how to mix the various tints, and obtain a complete knowledge of drawing flowers with taste, by practice alone . . . London: G. Riley, (first edition published anonymously, 1799) 1801.

Brookshaw, George. A New Treatise on Flower Painting; or, Every Lady her Own Drawing Master: Containing Familiar and Easy Instructions for acquiring a perfect Knowledge of Drawing Flowers with Accuracy and Taste: also Complete Directions for Producing the Various Tints. London: Longman, Hurst, Rees, Orme & Brown, 1818. (Identical to the 1801 edition of similar title, see above.)

———. Groups of Flowers Drawn and Accurately Coloured after Nature with full directions for the young artist designed as a companion to the Treatise on Flower Painting. 2d ed. London: Thomas McLean, 1819.

———. Groups of Fruit Accurately Drawn and Coloured after Nature with full instructions for the young artist intended as a companion to the Treatises on Flowers and Birds. 2d ed. London: Thomas McLean, 1819.

———. Pomona Britannica; or, A Collection of the Most esteemed Fruits at present cultivated in the country . . . selected principally from the Royal Gardens at Hampton Court. London: printed for the author, 1804–06 and 1812.

———. Six Birds, Accurately Drawn and Coloured after Nature with Full Instructions for the Toung Artist; intended as a companion to the Treatise on Flower Painting. 2d ed. London: Thomas McLean, 1819.

Browne, Alexander. Ars Pictoria; or, An Academy treating of Drawing, Limning, Painting, Etching. To which are added thirty copper plates expressing the choicest, nearest and most exact grounds of symmetry; collected out of the most eminent Italian, German, and Netherlandish authors. London: J. Redmayne, 1669.

Bryant, Joshua. Progressive Lessons in Landscape. Drawn and Engraved by Joshua Bryant. London: Ackermann, 1807.

Burnet, John. A Practical Treatise on Painting. In Three Parts. London: printed for the proprietor by James Carpenter & Son, 1827.

Calvert, Frederick. The Amateur Draughtsman by Calvert. London: William Cole, 1825.

———. Rural Scenery: Coloured. – By Calvert. London: Hodgson & Go., 1825.

Chapman, J.G. The American Drawing-Book: A Manual for the Amateur and Basis of Study for the Professional Artist: especially adapted for the use of public and private schools, as well as home instruction. New York: A.S. Barnes & Co., 1870.

[Chatelain, M.] Fifty small, original and elegant Views of the most splendid Churches, Villages, rural Prospects, and masterly pieces of Architecture, adjacent to London. Drawn by . . . Mr. Chatelain. London: R. Sayer, c.1755.

Cipriani, G.B. Cipriani’s Rudements of Drawing engraved by F. Bartolozzi. London: Edward Orme, 1805.

Clark, John. The Amateur’s Assistant; or, A series of instructions in sketching from nature . . . to accompany the subjects which form The Portable Diorama. London: Samuel Leigh, 1807.

———. Myriorama, consisting of sixteen sections of landscapes on cards. London: Samuel Leigh, c.1824.

———. Myriorama, second series, consisting entirely of Italian scenery. London: Samuel Leigh, c.1825.

———. A Series of Practical Instructions in Landscape painting in Water Colours; containing directions for sketching from nature, and the application of perspective – progressive lessons in drawing from the tinted sketch to the finished subject – and examples of the introduction of figures, architectural subjects, particular effects, &c. as connected with landscape scenery. London: Samuel Leigh, 1827.

Clark, John Heaviside. A Practical Essay on the Art of Colouring and Painting Landscapes in Watercolour. London: Edward Orme, 1807.

———. A Practical Illustration of Gilpin’s Day, representing the various Effects on Landscape Scenery from morning till night. In thirty designs from nature; by the Rev. William Gilpin, A.M. . . . with instructions in, and explanations of the improved method of colouring and Painting with Water Colours. London: Edward Orme, 1811.

———. A Series of Practical Instructions in Landscape Painting in Watercolours. London: Samuel Leigh, 1827.

A Lady [Miss Cleaver, pseud.]. Some Account of a New Process in Painting, by means of Glazed Crayons, with remarks on its general correspondence with the pecularities of the Venetian School. Brighton: T. Ruddock, 1815.

Cole, Henry. First Exercises for Children in Light, Shade, and Colour. London: Charles Knight, 1840.

The Compleat Drawing-Master: containing a curious collection of examples, consisting of parts of the human body, academy figures, and Le Brun’s passions of the soul, as they are expressed in the human countenance . . . London: printed for Robert Sayer, 1766.

Cosway, Maria. Immitations in chalk etched by Mrs. Cosway from original drawings by R. Cosway, Esq. R.A. London: Ackermann, 1800.

———. The Progress of Female Virtue and the Progress of Female Dissipation; engraved by A. Cardon from original drawings by Mrs. Cosway. London: Ackermann, 1800.

Cowper, William. The Anatomy of Humane Bodies, with figures drawn after the life by some of the best masters in Europe, and curiously engraven in one hundred and fourteen copper plates, illustrated with large explications containing many new anatomical discoveries and chirugical observations; to which is added an introduction explaining the animal œconomy, with a copius index. Oxford: S. Smith & B. Walford, 1698.

[Cox, David?] A Series of Progressive Lessons Intended to Elucidate the Art of Painting in Watercolours, 1st ed. London: T. Clay, 1811. (Cox’s name first appears in the fifth edition of 1823.)

Cox, David. Progressive Lessons in Landscape for Young Beginners. London: S. &J. Fuller, 1816.

———. A Treatise on Landscape Painting and Effect in Water Colours: from first rudiments, to the finished picture. With examples in Outline, Effect, and Colouring. In 12 parts. London: S. &J. Fuller, 1812–14.

———. The Young Artist’s Companion; or, Drawing Book of Studies and Landscape Embellishments: comprising a great variety of the most picturesque objects required in the various compositions of Landscape Scenery, arranged as progressive lessons. London: S. &J. Fuller, 1825.

Cozens, Alexander. A New Method for Assisting the Invention in Drawing Original Composition in Landscape. London: printed for the author, 1785. Also bound with it: The Shape, Skeleton and Foliage of Thirty-two species of Trees for the use of Painting and Drawing. London: printed for the author, 1786.

———. Principles of Beauty Relative to the Human Head. London: James Dixwell, 1778.

Craig, William Marshall. An Essay in the Study of Nature in Drawing Landscape. London: W. Bulmer & Co., 1793.

———. Landscape Animals in a Series of Progressive Studies. London: W.M. Craig, 1811.

Cumberland, George. Thoughts on outline, sculpture, and the system that guided the ancient artists in composing their figures and groups. London: Robinson & Egerton, 1796.

Daniel, W. A Familiar Treatise on Perspective, Designed for Ladies and those who are Unacquainted with the Principles of Optics and Geometry. London: Darton & Harvey, 1807.

Delaram, Francis. A Booke of Flowers, fruicts, birds and flies exactley drawne, with their true colours lively described. London: F.D. London, G. Humble, c.1620.

Della Porta, Giambattista. De Humana Physiognomonia. Padua: Vico Equesne, 1586.

[Dougall, J.D.] The Cabinet of the Arts; being a New and Universal Drawing Book. 2 vols. London: Ackermann, 1821.

The Draughtsman’s Assistant; or Drawing made easy: wherein the Principles of that Art are rendered familiar, in instructive lessons Comprised under the following Heads; Features and Limbs. Landscapes. Profiles and Ovals. Perspective. Whole Figures. Enlarging and Contracting. Drapery. Imitation of Life. Light and Shade. &c. &c. Explained by a great Variety of Examples from the most approved Designs, Neatly Engraved on Seventy-Two Copper Plates . . . London: R. Sayer, 1801.

Drawing Book; being Studies of Landscape, containing twenty specimens, by J. Hoppner, W. Owen, A. Callcott, J. Gainsborough, J. Owen, J. Varley, T. Girtin, &c. &c. London: E. & C. M’Lean, 1823.

Dubreuil, Jean. The Practice of Perspective; or, An easy method of representing natural objects according to the rules of art . . . as landskips, gardens, buildings of divers kinds . . . Translated by Ephraim Chambers. London: Tho. & John Bowles, (1642) 1736.

Dunstall, John. A Book of Flowers, Fruicts, Beasties, Birds and Flies. London: P. Stent, 1661.

Dyce, William. The Book of the Government School of Design. London: Chapman & Hall, 1842–3.

Eldridge, W. The School Drawing Book of Landscape; being a Treasury of Art for Youth in twenty-four Progressive Lessons. London: T. Allman, c.1850.

The English Academy. A Drawing Book containing a variety of examples of the external parts of Men, Women, and Children’s Bodies; With the shapes of several Creatures frequently used amongst Heralds, Goldsmiths, etc. London: Dixy Page, 1672.

Evelyn, John. Sculptura; or, The History, and Art of Chalcography and Engraving in Copper with an ample enumeration of the most renowned Masters, and their Works. London: G. Beedle, T. Collins & J. Crooke, 1662.

The Excellency of the Pen and Pencil exemplifying the uses of them in the most exquisite and mysterious arts of drawing, etching, engraving, limning, painting, oyl, washing of maps and pictures. Collected from the writings of the ablest masters both ancient and modern. London: Dorman Newman, 1688.

Fairband, Thomas. Julien’s New Progressive Drawing Book of the Human Figure drawn from Nature by Monsieur Julien, Professor of Drawing in the Military School of Paris. London: David Bogue, c.1845.

Field, George. Chromotography. A Treatise on Colours and Pigments and of their Powers in Painting. New ed. London: C. Tilt, 1835.

Fielding, T.H. Ackermann’s Manual of Colours. London: Ackermann, 1844.

———. The Art of Engraving, with the various operations, under the following different divisions: Etching. Softground Etching. Line Engraving. Chalk and Stipple. Aquatint. Mezzotint. Lithography. Wood Engraving. Metallic Engraving and Photography. London: Ackermann, 1841.

The Florist. Containing Sixty Plates of the most beautiful Flowers regularly disposed in their Succession of Blooming . . . for the use and amusement of Gentlemen and Ladies Delighting in that Art. London: R., c.1760.

The Florest, or, Poetical Nosegay and Drawing Book. Containing 24 copper plates, neatly engraved, with a descriptive moral poem to each . . . London: S. Hooper, 1775.

Footsteps of Flora, or Art of Flower Painting rendered easy. London: Hodgson & Co., 1824.

Fosbroke, T.D. The Wye tour or Gilpin on the Wye with Picturesque Additions from Wheatley, Price, etc. London: W. Farrot, Ross, 1826.

Flower, John. Autographic manuscript of lessons in drawing illustrated with a portfolio of twenty-four pencil drawings, c. 1824–1838. MS B1975.-3-469-568. Yale Center for British Art, New Haven.

Francia, Louis. Studies of Landscapes by T. Gainsborough, J. Hooper, T. Girtin, Wm. Owen . . . imitated from the originals by L. Francia. London: H. Berthoud, 1810 (reprinted, 1820, as Liber Variorum; A Selection from the Drawings and Studies in Land and Seascape of British Artists.

———. Progressive Lessons tending to elucidate the Character of Trees with the Process of Sketching, and Painting them in Water Colours. London: T. Clay, 1813.

Fuller S. and I. Fuller. The Protean Figure and Metamorphic Costumes. London: S. & I. Fuller, 1811.

Gandee, B.F The Artist; or, Young Ladies’ Instructor in Ornamental Painting, Drawing, Etc. Consisting of Lessons in Grecian Painting, Japan Painting, Oriental Tinting, Mezzotinting, Transferring, Inlaying, and Manufacturing Ornamental Articles for Fancy Fairs. London: Chapman & Hall; New York: W. Jackson, 1835.

Gartside, Mary. An Essay on Light and Shade, on Colours, and on Composition in General. London: T. Davison, 1805.

———. An Essay on a New Theory of Colours, and on Composition in General, Illustrated by Coloured Blots shewing the Application of the Theory to the Composition of Flowers, Landscape, Figures, &c. 2d ed. London: T. Gardner & W. Miller, 1808.

———. Ornamental Groups descriptive of Flowers, Birds, Shells, Fruit, Insects, &c. and Illustrative of a New Theory of Colouring, from Designs and Paintings by M. Gartside. The whole engraved and coloured under her immediate inspection. London: W. Miller, 1808.

The Geometry of Landskips and Paintings made familiar and easie: useful to limners in drawing, and gentlemen in choosing pictures. London: Richard Baldwin, 1690.

Gerhard of Brugge. An Introduction to the General Art of Drawing . . . with twenty copper prints of figures, for young learners to practice by. Augmented by W. Gore. Translated by J.L. London: Robert Pricke, 1674.

Gilpin, William. Three Essays: On Picturesque Beauty; On Picturesque Travel; and On Sketching Landscape: to which is added a poem, On landscape Painting. London: R. Blamire, 1792.

———. Catalogue of Drawings and Books of Drawings to be sold (on Thursday 6 May 1802) for the Endowment of a Parish-School, at Boldre, near Lymington, with the Author’s Account of the Drawings contained in it; and of the Principles, on which they were Executed. London: T. Cadell & W. Davis, 1802.

———. Two Essays: One, on the Author’s Mode of Executing Rough Sketches; the Other, on the Principles on which They are Composed. These Essays are Introduced by an account of the Parish-school at Boldre, near Lymington, for the Endowment of which the Essays and Drawings are Sold. London: T. Cadell & W. Davis, 1804.

———. Five Essays on Picturesque Subjects. Three Essays: On Picturesque Beauty; On Picturesque Travel; and On Sketching Landscape. To these are now added Two Essays, giving an Account of the Principles and Mode in which the Author Executed His Drawings. London: T. Cadell & W. Davies, 1808.

———. The Last Work published by the Rev. William Gilpin, A.M., Prebendary of Salisbury, and Vicar of Boldre, near Lymington; representing the effect of A Morning, A Noon Tide, and An Evening Sun. In thirty designs from nature. London: Edward Orme, 1810.

———. Instructions for Examining Landscape; Illustrated by a Few Drawings. N.p., n.d. MS B.H. I, no. 69. Fitzwilliam Museum, Cambridge.

Green, Benjamin. A Drawing Book of Landscapes. London: William Dickinson, 1786.

———. A Complete Drawing Book in Imitation of Chalk Drawings . . . in imitation of the most eminent masters both ancient and modern . . . London: W. Davis, 1820.

Gribelin, Simon. Six of Her Majesty’s Pictures Drawn and Engrav’d from the Originals of Paulo Veronese, Jac. Tintoreto, Old Palma, Jul. Romano, and Andr. Schivone; in the Royal Galleries of Windsor and Kensington. London: Th. Bowles & John Bowles, 1712.

Guest, T.R. A New Pocket Sketch Book, Containing an Easy Method of Drawing Landscape, Figures, Cattle, &c. from Nature. The general principles of perspective, the theory and use of colours in water and oil: with many necessary and practical rules for tinting, varnishing, &c. Salisbury: B.C. Collins, 1807.

Hammond, John. The Practical Surveyor; shewing ready and certain methods for measuring, mapping and adorning all sorts of lands and waters, by several instruments used for this purpose. 2d ed. London: T. Heath, 1731.

The Hand-book of Pencil Drawing; intended as a key to all drawing-books which have no written instructions. London: David Bogue, 1843.

Harding, James Duffield. Elementary Art; or, The Use of the Lead Pencil Advocated and Explained. London: Charles Tilt, 1834.

———. Lessons on Art. By J.D. Harding . . . 2d. ed., London: Day & Son, 1854.

———. Lessons on Trees. By J.D. Harding

———. . . London: Day & Son, 1855.

———. Studies from Nature, consisting of Views of Trees, Buildings, Picturesque Objects, &c. for the use of Young Students. London: Ackermann, c.1820.

Harley, George. First Principles of Landscape Drawing. London: Ackermann, 1829.

Hassel, John. Aqua Pictura. Illustrated by a Series of Original Specimens from the works of . . . all the Most Approved Modern Water Coloured Draftsmen, with their style and method of touch, in Progressive Examples. London: printed for the author, 1812.

———. The Speculum; or, Art of Drawing in Water Colours: with Instructions for Sketching from Nature in all its Progressive Stages. London: Sherwood, Neely & Jones, 1816.

———. The Camera; or, Art of Drawing in Water colours: with instructions for Sketching from Nature. London: W.S. Simpkin & R. Marshall, 1823.

———. Calcographia; or, The Art of Multiplying Drawings, after the manner of chalk, black lead pencil and pen and ink, exemplified by progressive specimens of the various styles which may be produced by this useful invention, from drawings by . . . Morland, Ibbetson . . . London: William Baynes & Sons, (1811) 1824.

Haydock, Richard. A Trade concerning the Arts of curious Paintinge Caruing & Building. Oxford, 1598. Reprinted in facsimile, England: Gregg International Publishers, Ltd., 1970.

Hayter, Charles. An Introduction to Perspective, Drawing, and Painting in a Series of Pleasing and Familiar Dialogues between the Author’s Children . . . A Compendium of genuine instruction, comprising a progressive and complete body of information, carefully adapted for the Instruction of Females, and suited Equally to the Simplicity of Youth and to Mental Maturity. 4th ed. London: Kingsbury, Parbury & Allen, 1824.

Hearne, Thomas. Antiquities of Great Britain illustrated in views of monasteries, castles and churches now existing. Engraved by W. Byrne, F.S.A. from drawings by Thos. Hearne, F.S.A. London: T. Cadell & W. Davis, 1807.

Heckle, Augustin. The Florist: or, An extensive and curious Collection of Flowers, For the imitation of Young Ladies, either in Drawing or in Needle-Work. London: John Bowles & Son, 1759.

Hilliard, Nicholas. Nicholas Hilliard’s Art of Limning: A New Edition of “A Treatise Concerning the Arte of Limning”, Writ by N. Hilliard. Transcribed by Arthur Kinner, introduction by John Pope-Hennessy, and commentary by Linda Bradley Salamon. Boston: Northeastern University Press, 1983.

———. Treatise Concerning the Arte of Limning. Edited by R.K.R. Thornton and T.S. Cain. Northumberland: Carcanet Press, 1992.

Hills, Robert. Cattle in Groups for the Embellishment of Landscape. Drawn from Nature and Etched. London: R. Hills, 1817.

Hogarth, William. The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1753-

Hollar, Wenceslaus. A New Boock of Flowers & Fishes, Colected and composed out of the best Authors. W. Hollar fecit. London: John Overton, 1662.

Howard, Frank. The Sketcher’s Manual; or, The whole art of picture making reduced to the simplest principles. By which amateurs may instruct themselves without the aid of a master. London: Darton & Clark, 1837.

Ibbetson, Julius Caesar. Ibbetson’s Process of Tinted Drawing. London: Paddington, 1794.

———. Ibbetson’s Oil Painting. Part I. London: Darton & Harvey, 1803.

———. An Accident, or Gamut, of Painting in Oil and Watercolours. London: Darton & Harvey, 1803.

———. Etchings of Figures in Eight Plates. London, 1816.

Jenner, Thomas. Albert Durer Revived: or, A book of drawing, limming, washing, or colouring of maps and prints: and the art of painting with the names and mixture of colours used by the picture-drawers, with directions how to lay and paint pictures upon glass: or, the young-man’s time well spent. in which he hath ground-work to make him fit for doing any thing by hand, when he is able to draw well . . . very useful for all handicrafts, and ingenious gentlemen and youths. London: John Garrett, 1679.

Kennion, Edward. An Essay on Trees in Landscape; or, An attempt to shew the propriety and importance of characteristic expression in this branch of art. and the means of producing it: with examples by the late Edward Kennion, F.S.A. London: T. Bensley, 1815.

Kirby, Joshua. Dr. Brook Taylor’s Method of Perspective made Easy, both in theory and practice. In two books. 3d ed. London: T. Payne, 1765.

de Lairesse, Gérard. The Art of Painting in all its Branches, methodically demonstrated by Discourses and Plates, and exemplified by Remarks on the Paintings of the Best Masters; and Their Perfections and Oversights laid open. Translated by John Frederick Fritsch. London: J. Brindley, 1738. London: S. Vandenbergh, Messrs. Payne, White, Robson & Co., Walter, Sewell, 1778.

Laporte, John. Characters of Trees. London: Thomas Macklin & J.P Thompson, 1796–1800.

———. Process of Sketching a Landscape. London: T. Simpson & J.P. Thompson, 1801.

———. The Progress of a Watercoloured Drawing, wherein is represented to the Readers the Various Gradations through which a drawing passes, from the outline to its finished state. London: printed for the proprietor, c.1802.

———. Laporte’s Sketch Book; of various Subjects from Mature. Drawn and Engraved by himself in exact immitation of the originals. London: John Laporte, 1829.

Le Brun. Heads, representing the various passions of the soul, as they are expressed in the human countenance. London: Laurie & Whittle, 1794.

Lens, Bernard [Kim Sloan has correctly identified the author as Edward Lens]. A Mew and Compleat Drawing Book . . . to which is prefixed an Introduction to Drawing . . . translated from the French of De Lairesse and improved with extracts from C.A. Du Fresnoy. 1st ed. London: B. Dickinson, 1751.

A Lithographic Drawing Book Upon Easy and Progressive Principles . . . Suited to the Capacity of Young Beginners. London: J. Burgis, 1820.

Lock, M. A Mew Book of Foliage for the Instruction of Young Artists. London: Webley, 1769.

Lucatelli, G. A Specimen of Sketching Landscapes. London: T. Simpson, 1781.

Malchair, John. Autographic manuscript entitled “Observations on Landskipp Drawing with many and various Examples Intended for the use of beginners. By John Baptist Malchair Oxford. 1791.” Alternative title on first page: “Rules and Examples for the Drawing of Landskipp according to the practice at Oxford.” Ashmolean Museum, Oxford.

Malton, James. The Young Painter’s Maulstick; being a Practical Treatise on Perspective. London: printed for the author by Carpenter & Co., 1800.

Malton, Thomas. A Complete Treatise on Perspective in Theory and Practice on the True Principles of Brook Taylor. London: printed by the author, 1778.

Manskirsh, Franz Joseph. Ackermann’s Mew Drawing Book, Comprising Groups of Figures, Cattle, and other Animals for the Embellishment of Landscape, Designed and Engraved by J.F. Manskirsh. London: Ackermann, 1808.

Metz, Conrad Martin. Imitations of ancient and modern drawings from the restoration of the arts in Italy to the present time. Together with a chronological account of the artists, and strictures on their works, in English and French. London: printed for the author, 1798.

Mignot, Daniel, et al. A hand-made specimen book of designs for jewelry and ornament, made up of engravings from various pattern books bound together in vellum, c.1600. Yale Center for British Art, New Haven.

Moriarty, Henrieta M. Viridarium: Coloured Plates of Green House Plants, with the Linnaean Names, and with Concise Rules for their Culture. London: W. Earl, 1806.

Nattes, John Claude. Practical Geometry; or, An Introduction to Perspective. London: W. Miller, 1805.

———. Nattes’s Guide to Draw from Nature; or, Elementary Lessons for those who wish to attain the useful and pleasing art of drawing local views. London: Ackermann, 1818.

Neve, Richard. Arts Improvement; or, Choice experiments and observations in building, husbandry, gardening, mechanicks, chimistry, painting, japaning, varnishing, guilding, inlaying, embossing, carving, preserving several things in their natural shape and colour, and other arts and sciences profitable and pleasant. London: D. Brown, 1703.

A New Practical Treatise on the Art of Flower Painting, and Drawing with Watercolours, for the Amusement and Instruction of Young Ladies who have a Taste for Drawing; particularly for those residing abroad, or in the country, who have not the advantage of a skillful drawing master: accompanied by upwards of twenty plates, engraved from original drawings; most of which have been coloured from real flowers. London: printed for G. Riley, 1813.

Nicholson, Francis. The Practice of Drawing and Painting Landscape from Nature, in Water Colours: exemplified in a series of instructions calculated to facilitate the progress of the learner. London: T. Booth & T. Clay, 1820.

———. Lithographic Impressions from Sketches of British Scenery. London: Rodwell & Martin, 1821.

Noble, Thomas. Practical Perspective, Exemplified on Landscapes. London: Edward Orme, 1805.

Norgate, Edward. Edward Norgate: Miniatura or the Art of Limning. Edited by Jeffrey M. Muller and Jim Murrell. New Haven and London: Yale University Press, 1997.

Orme, Edward. An Essay on Transparent Prints, and on Transparencies in General. London: Edward Orme, 1807.

Orme, William. William Orme’s Rudiments of Landscape Drawing, and Perspective. Dedicated to the Society for the Encouragement of the Arts &c. &c. London: Edward Orme, 1801.

Ottley, William. A Collection of Facsimiles or scarce and curious Prints, by early masters of the Italian, German, and Flemish schools; illustrative of the history of engraving from the invention of the art by Maso Finiguerra, in the middle of the fifteenth century to the end of the century following. Vol. I. London: Longman, Rees, Orme, Brown & Green, 1826.

Parkinson, Thomas. Flower Painting Made Easy; being a collection of correct outlines after nature by Tho. Parkinson, painter; and well engraved on 72 copper plates, whereby persons wholly unaquainted with drawing, may by the assistance of this work make beautiful imitations of nature: the colours and rules for using are annexed. London: R. Sayer, c.1750.

Parsey, Arthur. Perspective Rectified; or, The Principles and Application Demonstrated . . . with a New Method for producing Correct Perspective Drawings without the Use of Vanishing Points. London: Longman, Rees, Orme, Brown & Green, 1836.

———. The Science of Vision or Natural Perspective! Containing the True language of the Eye, necessary in common Observation, Education, Art and Science; constituting the basis of the Art of Design . . . and the new Optical Laws of the Camera Obscura, or Daguerreotype; also the Physiology of the Human Eye. London: Longman & Co., 1840.

Peacham, Henry. The Art of Drawing with the Pen, and limming in watercolours, more exactlie than heretofore taught and enlarged with the true manner of painting upon glasse, the order of all young gentlemen, or any els thast are desirous for to become practitioners in this excellent and most ingenious art. London: Richard Braddock for William Jones, 1606.

———. Graphice; or, The most ancient and excellent art of drawing and limming disposed into three bookes. London: W.S. for J. Browne, 1612.

———. The Gentleman’s Exercise; or, An exquisite practice, as well for drawing all manner of beasts in their true portraittures: as also the making of all kinds of colours, to be used in lymning, painting, tricking, and blason of coates, and armes, with divers other most delightfull and pleasurable observations; for all young gentlemen and others. As also serving for the necessarie use and generali benefite of divers Trades-men and artificers, as namely painters, joyners, free-masons, cutters and carvers &c. for the farther gracing, beautifying and garnishing of all their absolute and worthie peeces, either for borders, architecks, or columnes, &c. London: J. Browne, 1612; London: printed for I.M., 1634.

Picart, Bernard. A New Drawing Book of Modes. London: Richard Ware, 1733.

Pickett, William. Twenty-Four Plates divided into Ninety-Six Specimens of Cottages, Bridges, Castles, Churches, Wind Mills, Abbeys, Water Mills, Lighthouses, Turnpikes, Ruins, Barns, Rocks, Priories, Kilns, Waterfalls, Gateways, Crosses, Cliffs, Forts, Wharfs, Towers, Alehouses, Caves, Wells. Intended to facilitate the Improvement of the Student, and to aid the Practitioner in Landscape Composition. London: T. Clay, 1812.

Phillips, Giles Firmin. A Practical Treatise on Drawing and on Watercolour Painting. London: A.H. Baily & Co., 1839.

de Piles, Roger. The Art of Painting, and the Lives of the Painters; containing, a complete treatise of painting, designing, and the use of prints . . . Done from the French of Monsieur de Piles. To which is added, an essay towards an English School. London: J. Nutt, 1706.

Pott, Joseph Holden. An Essay on Landscape. London: J. Johnson, 1782.

Priestly, Joseph. A Familiar Introduction to the Theory and Practice of Perspective, 1st ed. London: J. Johnson & T. Payne: London, 1770.

Pretty, Edward. A Practical Essay on Flower Painting in Water Colours. London: S. & I. Fuller, 1810.

Prout, Samuel. Rudiments of Landscape: In Progressive Studies. Drawn and etched in imitation of chalk. London: Ackermann, 1813.

———. A Series of Cottages and Rural Scenery, drawn and etched in imitation of chalk, 16 plates. London: Ackermann, 1816.

———. Progressive Fragments, drawn and etched in a broad and simple manner; with a comprehensive explanation of the principles of perspective; for the use of young students in landscape drawing. London: Ackermann, 1817.

———. Easy Lessons in Landscape Drawing, contained in forty plates; arranged progressively, from the First Principles in the Chalk Manner, to Finished Landscapes in Colours. London: Ackermann, 1819.

———. A Series of Easy Lessons to be completed in ten monthly numbers. London: Ackermann, 1819.

———. Hints on Light and Shadow, Composition, etc., as applicable to Landscape Painting. London: Ackermann, 1838.

Pyne, William Henry. Microcosm: or, A Picturesque Delineation of the Arts, Agriculture, Manufactures, &c. . . . of Great Britain. 2 vols. 3d ed. London: W. Miller, 1808.

———. The Rudiments of Landscape Drawing in a series of easy examples. London: Ackermann, 1812.

———. Etchings of Rustic Figures for The Embellishment of Landscape. London: M.A. Nattali, 1817.

Roberts, James. Introductory Lessons, with Familiar Examples in Landscape, for the use of those who are desirous of gaining some knowledge of the pleasing art of Painting in Water Colours; to which are added some clear and simple rules, exemplified by suitable sketches and more finished paintings. As this work is intended for the mere beginner, the rules are both familiar and progressive. To which are added, instructions for executing Transparencies, in a style both novel and easy. London: printed for the author by W. Bulmer & Co., 1800.

Robertson, Hannah. The Young Ladies’ School of Arts, containing a great variety of practical receipts, in gum flowers, filligree, japanning, shellwork, gilding, painting, cosmetics, jellies, preserves, cakes, cordials, creams, jams, pickles, candying made wines, clear starching, etc. Together with directions for breeding canary birds, and breeding, nursing, and ordering of the silk worm. Together with a great many curious receipts both useful and entertaining, never before published. York: R. Spence, 1777.

Robson, William. Grammigraphia; or, The grammar of drawing, a system of appearance which by easy rules, communicates its principles, and shews how it is to be presented by lines, distinguishing the real figure in nature from the appearance, or shewing the appearance by the reality, rendering visual observation more correct and interesting and proposing the pleasure, and universality of science. London: printed for the author by W. Wilson and sold by J. Wallis, 1799.

Ruskin, John. The Elements of Drawing. New York: Dover Publications, 1971.

———. The Laws of Fésole. A Familiar Treatise on the Elementary Principles and Practice of Drawing and Painting. New York: Allworth Press, 1996.

Salmon, William. Polygraphice; or, The Art of Drawing, Engraving, Etching, Limning, Painting, Washing, Varnishing, Colouring, and Dying: in three books: I, shews the drawing of men and other animal creatures, landskips, countries, and figures of various forms, II, the way of engraving, etching and limning with all their requisits and ornaments, III, the way of painting, washing, varnishing, colouring and dying according to the method of the best authors now extant, exemplified in the painting of the ancients, washing of maps, globes or pictures, dying of cloth, silks, bones, wood, glass, stones, and metals, together with the way of varnishing thereof according to any purpose or intent: the like never yet extant/by W.S., a lover of art. London: printed by E.T. and R.H. for Richard Jones, 1672. 2d ed.; London: John Crumpe, 1673.

Sandby, Paul. Etchings of Figures and Landscape. London: R. Sayer, c.1750–58.

———. Views in Aquatinta from Drawings taken on the spot in South-Wales. London: J. Boydell, 1775.

Sanderson, William. Graphice. The use of the Pen and Pensil. Or the most excellent Art of Painting: In Two Parts. London: Robert Crofts, 1658.

Sayer, Robert. The Complete Drawing Book: containing Many and Curious Specimines . . . the whole neatly engraved on one hundred and sixteen copper plates, from Le Clerc, Le Brun, Rembrandt, Berghem, Barton, Chatelin, Swain and others . . . to which are annexed instructions to youth for their improvement and entertainment in this art. London: R. Sayer, 1762.

Smith, Thomas. The Young Artist’s Assistant in the Art of Drawing in Water Colours, exemplified in the course of twenty-nine progressive lessons. London: printed for Sherwood, Gilbert & Piper, c.1825.

———. A Series of Progressive Lessons, intended to elucidate the Art of Flower Painting in Water Colours. London: T. Clay, 1815.

Sowerby, James. A Botanical Drawing Book: or, An Easy introduction to Drawing Flowers according to Nature. 2d ed. London: Richard Taylor & Co., 1807.

Starker, John and George Parker. A Treatise of Japaning and Varnishing, being a complete discovery of those Arts. With the best way of making all sorts of varnish for japan, wood, prints or pictures. The method of guilding, burnishing, and lackering; with the art of guilding, separating, and refining metals, and of painting mezzo-tinito pictures. Also rules for counterfeiting tortoise-shell, and marble, and staining or dying wood, ivory, and horn. Oxford: printed by the authors, 1688.

Syme, Patrick. Practical Directions for Learning Flower Drawing. Edinburgh: printed for the author, 1810.

Taylor, Brook. New Principles of Linear Perspective; or, The art of designing on a plane the representations of all sorts of objects, in a more general and simple method than has been hitherto done. London: John Ward, 1749.

Tyas, Robert. The Language of Flowers; or, Floral emblems of thoughts, feelings, and sentiments. London: George Routledge & Sons, 1869.

Tory de Bouges, Geofroy. Champ Fleury: Au quel est contenu L’art & Science de la deue & vraye Proportió des Letters Attiques, quó dit autremét Lettres Antiques, & vulgaireement Lettres Romaines proportionnees selon le Corps & Visage humain. Paris: Giles Gourmont, 1526.

Valuable secrets concerning arts and trades; or, Approved directions, from the best artists, for the various methods of engraving on brass, copper or steel. Of the composition of metals, and varnishes. Of mastichs and . . . Norwich, Conn.: T. Hubbard, 1795.

Varley, John. The Principles of Landscape for students and amateurs in that art to be completed in twelve numbers. In 12 parts. London: John Varley, 1816–17.

———. Precepts of Landscape Drawing, exemplified in fifteen views; with instructions to young artists. London: printed for the author, 1819.

———. Studies for Drawing Trees. London: Sherwood, c.1820.

———. A Treatise on the Principles of Landscape Design; with General Observations and Instructions to Young Artists. London: printed for Sherwood, Gilbert & Piper, c.1823.

Varley, William. Observations on colouring and sketching from nature. 2d ed. London: printed for the author; Chichester: W. Mason, 1820.

A Very Proper Treatise, wherein is briefly set fourth the act of limming, which teacheth the order in drawing and tracing of letters, winets, flowers, armes, and imagerye, and the maner how to make sundry syses or groundes to lay silver and other mettais and diverse kindes of colours to write or to Uimme withal upon the worke which thou intendest to make and how to vernish it when thou hast done, with diverse other thinges verye meete and necessary to be knowne to all such gentlemen, and other persons as doe delight in limming, painting or in trucking of armes in their colours, and therefore a worke very meete to be adioyning to the bookes of armes. London: T. Purfoote, the Assigne of R. Tottill, 1588.

Wells, W.F. and John Laporte. A Collection of Prints Illustrative of English Scenery from the Drawings and Sketches of Thomas Gainsborough. In 39 parts. London: James Smelton, 1802.

Whittock, N. The Oxford Drawing Book; or, The art of drawing, and the theory and practice of perspective, in a series of letters containing progressive information on sketching, drawing, and colouring landscape scenery, animals, and the human figure with a new method of practical perspective. London: E. Lacey, 1827.

———. The Art of Drawing and Colouring from Nature, Birds, Beasts, Fishes and Insects. London: I.T. Hinton, 1829.

———. The Youth’s New London Self-Instructing Drawing Book; containing a series of progressive lessons. London: G. Virtue, 1836.

———. The British Drawing Book; or, The Art of Drawing with Pen and Ink. London: John Limbird, c.1840.

Wood, John George. The Principles and Practices of Sketching Landscape Scenery from Nature. 3d ed. London: printed for the author by Howlett & Brimmer, 1824.

Youth’s Assistant in Drawing; or, A compleat drawing book. Containing an extensive collection of examples, in all variety of subjects, for the improvement of youth in the pleasant and useful art of drawing. London: Thos Bowles & John Bowles & Son, c.1765.

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