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Groups of fruit: accurately drawn andcoloured after nature, with full directions forthe young artist: designed as a companion tothe treatises on flowers and birds. 1817

Brookshaw, George, 1751-1823London, England: Printed for William Stockdale ... by AugustusApplegath and Henry Mitton ..., 1817

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Groups of JFrutt,

ACCURATELY DRAWN AND COLOURED AFTER NATURE,

WITH

FULL DIRECTIONS FOR THE YOUNG ARTIST:

DESIGNED AS A COMPANION

TREATISES ON FLOWERS AND BIRDS.

BY GEORGE BROOKSHAW, ESQ.

AUTHOR OF THE POMONA BRITANNICA, TREATISE ON FLOWER PAINTING, &C.

LONDON :

PRINTED FOR WILLIAM STOCKDALE, I81, PICCADILLY;

BY AUGUSTUS APPLEGATH AND HENRY MITTON, 24, NELSON-SQUARE, GREAT SURREY-STREET,

1817.

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PEARS.

Tuts branch of Pears will be found very easy to copy, although at

first sight it may appear difficult: the leaves of these are all

coloured in the same manner as the former ones, by touching in

the shadows till you produce the proper effect.

The lower front Pear must be laid in with a very yellow green ;

the upper front one with a tint a very little darker. It is a point

always to be remembered, never to have two principal objects in

one group so small as this; let there be one principal object, which

should always be distinguished by being rather lighter than the

other ; when you have laid in the light tint, put a dark shadow all

over the dark side, and blend both tints in a dappling manner.

Pears being invariably speckly all over, any appearance of lines

must be carefully avoided. When you have strengthened the

shadows sufficiently dark to have the effect of your pattern, you

may begin to speckle it with some fine faint specks; and be

particularly careful not to make them too dark, as they cannot be

too delicate. The eye of the Pears must be done last. You will

easily perceive that each of these Pears vary in the lightest tints,

therefore in beginning each your first tint must vary a little in

each Pear. When you imagine you have completed your drawing,

look well at every part, and compare it with your pattern, and see

if you cannot discover some part which you can mend by some

additional touches.

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CURRANTS.

"Turs plate of Currants is given as one of the last on account of

its requiring greater attention to do it well, although the same

method must be pursued in these leaves as in the former ; but there

is more force of colouring in this, which arises from the greater

contrast of the different parts; the shadows of Currant leaves

being more sudden than those of other leaves.

There is one remark I must make here, which should: always

be observed, it is, to place the lightest coloured object first in

every group of flowers or fruit; had the White Currants been

where the red are, and the red where the white are, the effect

could not have been good.

The best method of proceeding to colour the White Currants is

to form the perfect shape of each Currant with a very faint tint of

raw terra de siena, as you cannot put them in with a black lead

pencil sufficiently faint: having formed each Currant perfectly round,

put in the shadows very tenderly with raw terra de siena; then

strengthen them with a little stronger tint of the same; after which

wash over a very delicate tint of yellow oker very thin, but leave

the light speck. Now observe whether the Currants are too light ;

if they are, repeat the light wash over again ;_ after which touch up

the shadows where wanting till you have given them the effect of

your pattern; then put in the snufls, first with burnt terra de siena,

then with a little touch of umber.

In colouring the Red Currants, you may sketch them lightly in

with your black lead pencil; then begin by putting in the lightest

red tint, taking care not to cover the light" speck. All glossy

bodies catch the light so strong, that it is necessary to leave the

white paper perfectly clear from any tint of colour. You must

now proceed by darkening the shadows ; but be careful that you

leave the reflecting light round the under side, that will give it

the roundness. If you bring the shadows to the bottom, and do

not preserve that reflecting light, your Currant will look flat

instead of round.

When you have completed the shadows, then put in the snuffs

in the same manner as the White Currant, which will complete

the piece.

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CHERRIES.

Ix copying these groups of fruit, I recommend the student to

attend more to the drawing and general freedom of the whole,

than toa minute imitation of the exact turn or size of a leaf, or any

other particular part.

I have placed this branch of Cherries first, as being the most

easy to copy; in beginning which, after having sketched in the

whole tolerably correct, draw the light vein down the middle, and

wash a green tint all over the leaves; but be particularly careful

not to have your tint too blue, and preserve the light vein perfectly

correct, letting it taper gradually till it loses itself in the end:

next put in the ribs on each side; in doing these, keep as close to

your pattern as you can, by observing the regular distances, and

at the same time touch in very lightly the small side fibres ;

having put all the parts in with the shadow tint, look at the whole,

and observe whether your leaves are too light, and if so, wash a

green tint all over, to give the drawing the general tone of colour ;

and afterwards touch in all the shadows, and darken them by

degrees, till you bring them as near to your pattern as possible :

the lower leaf appears rather decaying; this may be laid in with

yellow oker or raw terra de siena. You cannot be too careful in

putting in the stems of the cherries, which must be of a regular

thickness, and drawn with a firm line.

You will now come to the Cherries. These will require some

attention: the most difficult part will be to put in the first light red

tint, and to soften the edge so as to leave the white without letting

any edge of the red appear: this will at first be so difficult that I

should recommend making several trials of a single cherry on a

separate piece of paper, till you find you can accomplish it ; when

you have done that, you may proceed with less difficulty to darken

}

them ; but they must be done gradually: and as all cherries are

better represented by fine dots or specks, you must endeavour to

put in the different tints by speckling or dotting them with the

point of the pencil; this will require some pains to do accurately.

After you have completed the Red Cherry, you must proceed in the

same manner with the darker one; the tints of which do not

require particular directions.

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APPLES.

Tus branch of Apples is placed as the second on account of the

similarity of colouring to the bunch of Cherries preceding: the

same method that is pointed out for the leaves of the latter will do

for these.

In colouring the Apples, begin with first putting in an orange

tint, and soften the edge next the yellow so as to lose itself in the

white paper; then put a red tint above, and soften that down upon

the orange ; after which wash in astrong yellow tint ; in doing this

you may wash over the orange and red tint, and by that means

you will soften any harsh touches of the red, and blend the three

tints of yellow, orange, and red, into each other much better.

When you have done thus far it will be best to put a vermilion tint

all over the red part, and then darken it with clear lake; the

brown tints round the stems must now be put in; here some pains

will be required to unite these brown tints into the lake tints, as

they unite in a fine line: the lake must be done last upon the

brown, as the brown will not show upon the lake. The shadow tints

of the yellow must be put in with terra de siena, delicately softened

P off into the yellow.

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|

| ;

ALBRICO ls.

ZT aust here repeat the recommendation I gave in the first

instance, namely, to observe when you have sketched in the whole

of your drawing, whether it has the spirit of the pattern; look

particularly to the main stem and the general position of the

different parts, that they do not vary too much, and that the leaves

join the stems freely ; you may then proceed to colour, observing

what I directed before respecting the leaves, to sketch in the ribs

correctly : you will not then be so liable to make any mistake in

putting in the green tints for the shadows. It is very immaterial

whether you put in the leaves or fruit first: the same method

directed for the other leaves will be proper to proceed in with

these.

In colouring the fruit, begin the two back Apricots first, by

laying a light thin tint of gamboge and raw terra de siena,

and darken it tenderly with terra de siena and a tinge of umber ;

then, to strengthen the shadows of the upper back one, take a little

burnt terra de siena; this will darken them and give a warmth ;

but be very careful to put in the darker tints in a dappling

manner, which is a method peculiarly adapted to almost all sorts

of fruit.

Begin the front Apricots with laying a tint of red lead and

gamboge, as near to your pattern as you can: when you have put

in the first tints, strengthen the red parts with a stronger red lead

tint, and then darken the shadows of the under parts, and work them

up till you have brought them to your pattern, which you must

endeavour to do in aspeckling or dappling manner. Now examine

the general appearance of the whole, and sce if you have got the effect and the general tone of colour of your pattern : if so, you may

,

begin to put in the dark spots ; but these must not be all put in

with the same tint ; some may be put in with burnt terra de siena,

and others with lake and umber.

As this now will complete your drawing, I do not see any

further instructions can be given that will be of any use ; therefore

I can only recommend a continuation of practice, by which I have

no doubt you will improve.

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| PLUMS.

| | Tis branch of Plums has a more picturesque appearance than

| any of the preceding ones; it is more highly finished than they

are: here the learner will find a greater number of tints will be

required in all the green leaves to bring it to the strength: it is

from the great number of tints introduced between the lightest

and the darkest that it has acquired that richness and fervour of

colouring, which is what constitutes high finishing.

In colouring the Plums, all the lightest tints must be put in

first ; then lay a broad dark tint all over the dark parts, and soften

the light and dark tints into each other in a dappling spotting

manner ; but it will be impossible to give it that rich appearance

it has in any other way than by repeatedly going over it with a

darker tint ; all which must be put in in a dotting way; by doi ng it

in this manner it will give it that richness and softness your pattern

possesses. Although this is a much higher finished piece than the

preceding ones, it will not be found more difficult to copy than

they are; but that will not be the case in all subjects. In point of

instruction nothing further can be said that can render the learner

any service; improvement must be alone expected from practice

and a strict attention to the pattern; and from the various

instructions which have been given with these six drawings, there

can be no doubt but that every one who practises from these

works will improve without any further assistance.

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