THE BRITISH JOURNAL OF PHOTOGRAPHY. November 18, 1864.
IN our issue -of August-5th there appeared; under the heading of the "American Ivorytype," an extract -from a work entitled the Camera- and the Pencil. The extract in question purported to be a detailed. Account, of Mr. Wenderoth's recently invented method of producing a-certain class- of pictures Which usually went under that designation. They were there described as "ivorytypes," from their, resemblance to miniatures painted on that material, and they have been represented as being very beautiful: Mr. Wenderoth has written to us; repudiating .the title; and; as we think the, inventor of a process has, the best right to fix its distinguishing name we shall henceforth adopt Mr. Wenderoth's design designation of "Toovytype" when alluding to this class-of pictures.
Since the extracts referred to above appeared in our pages, several inquiries have been sent to us by correspondents whose experiments in that direction had not succeeded altogether to their satisfaction. We could not assist them nor furnish them with more explicit details, from not having ourselves worked at the process; but Mr. Wenderoth himself now comes to our aid, and, in the generous spirit of a true photographer, gives freely .to his photographic brethren the information acquired from long and diligent practice.
In a communication recently received, he says;
"In looking over the (August 5th) number of THE BRITISH JOURNAL of PHOTOGRAPHY, I notice an article describing the process of making 'Toovytypes' invented by me, not recently as the author of the Camera and Pencil says, but some six years ago, and which description is almost correct.
"The style of coloured photographs there described has been very popular in America, and my success in them has been beyond expectation. Thinking that some of, your readers would like to produce such pictures, I gladly give them my six years' experience.
"When I first commenced to make these pictures I mounted them on the glass with pure wax, and continued to do so for two years. But as it was somewhat difficult to expel all the little air-bubbles, I added one fourth in volume of gum dammar varnish, which worked easier because it filled the pores of the paper more effectually; but it, was too inflammable, and I .substituted Canada balsam instead, which, as I then thought, was just the right thing. At the end of other two years I found that those pictures in which I had used balsam or varnish had turned quite cream coloured or yellow; whereas those with pure wax were just as fine and clear as on the day when made. I therefore fell back on the pure wax;, which I now use, and. which after a trial of six years I find quite unaltered. But I do not previously melt the wax in a cup, because I find that if it get too hot, it is sure to turn yellowish and impair the purity off the picture. I prefer taking a piece of the cake-wax; and when the plate is hot enough, I rub it over the side which is destined to receive the picture long enough to cover it with a thin layer. I them lay the picture face downwards on it, and press with the wax-cake over the back until, all the air has been worked out; and finally, while the plate is still hot, I clear the back and front of all superfluous wax.
"In place of the smaller sizes of 'Toovytype,' I now print my large specimens on white glass. Of these I send you two examples. These, pictures are, printed in contact with, the negative on: an albumen film containing chloride of silver. The one with a highly polished surface is sold plain and unvarnished, just in the , condition in which is comes from the washing trough, except that it is dried: The other specimen is on ground white glass, and is. of that kind required for painting.
"I was myself so little satisfied with these paper pictures transferred to glass (although they were very popular) that I determined to abandon, them, and find out if possible, a method of printing them direct an the glass. How far I have succeeded you will, from the specimens I have sent, be able to judge." .
We should not have called such prominent attention to this process had not the specimens forwarded by Mr. Wenderoth been of the most beautiful kind, proving very satisfactorily the high artistic perfection of which its results are capable. In our opinion these pictures, in delicacy of detail and half-tone, in transparency of tints, and, in many other points, are fully equal--as indeed their general appearance bears a very close resemblance--to Camarsac's exquisite enamels.
At the next meeting of the North London Photographic Association, we hope to have the pleasure of showing these charming specimens, which, to our mind, have rarely been equalled, and certainly never, surpassed, by anything hitherto done in photography. The; process is stated to be very simple and not liable to failure. We shall soon, however, probably, have the gratification of laying more complete details before our readers.