Materials and Techniques - Types of Inks
Anatomical Study of a Seated Male Nude, Henry Fuseli, about 1770-8. Museum no. E.1094-1887
Anatomical Study of a Seated Male Nude
Henry Fuseli (1741-1825)
Ink on laid tracing paper
Width 13 cm x height 30 cm
Museum no. E.1094-1887
The fact that the ink is brown and is eating into the paper suggests that it was iron-gall ink.
Design for a Stained Glass Window, Hans Baldung, first half of 16th century. Museum no. D.199-1888
Design for a Stained Glass Window
Hans Baldung (called Grien) (about 1480-1545)
First half of 16th century
Black and brown inks and red chalk on laid paper
Width 31.5 cm x height 42.9 cm
Museum no. D.199-1888
Most of this drawing is executed in iron-gall ink which has turned brown. The figure in the front has remained black and is therefore likely to be drawn with carbon ink.
The Banquet of Anthony and Cleopatra, Giovanni Battista Tiepolo, 18th century. Museum no. D.1825-1885
The Banquet of Anthony and Cleopatra
Giovanni Battista Tiepolo (1696-1770)
Bistre wash over black chalk on laid paper
Width 33.5 cm x height 23.5 cm
Museum no. D.1825-1885
The undissolved brown particles characteristic of bistre ink are clearly visible.
Cupid Dipped in Wine, Illustration to the Sixth Ode of Anacreon, Henry Pierce Bone, 1821. Museum no. E.1467-1939
Cupid Dipped in Wine, Illustration to the Sixth Ode of Anacreon
Henry Pierce Bone (1779-1855)
Sepia wash over pencil on wove paper
Width 42.4 cm x height 32 cm
Museum no. E.1467-1939
This sketch was drawn at a meeting of the Sketching Society, the rules of which were that the subject should be executed in the medium of sepia. It is testimony to sepia’s extensive tonal range. Were the washes in different colours rather than in shades of brown we would be inclined to call them water-colour.
Self-portrait, Charles Ginner, about 1920. Museum no. E.3308 -1980
Charles Ginner (1878-1952)
Indian ink on laid paper
Width 10.2 cm x height 10.2 cm
Museum no. E.3308 -1980
The ink’s slight shine is typical of Indian ink.