
Margaret McLennan, I think, born 1780 circa as this pic is taken in around 1850. She's from Harris, originally. Her husband, Murchoch McLeod is from Stornoway, Isle of Lewis. Mother of John McLeod, grandmother of Margaret McLeod Nicholson, of Flo in the City, my novel about a girl coming of age in the 1908-1913 era, based on the letters of
http://www.tighsolas.ca/. This is a detail of a crayon portrait I have. I couldn't fit it all in the scanner. This woman lived to 99, or something.
Crayon portraits are blown up tintypes, embellished with charcoal artistry. I found a book on the art on archive.org. Crayon Portraiture by J. A. Barhydt. The book from the 1880's gives detailed instruction on making crayon portraits. Some days this seems easier than getting my printer and scanner to work properly :)
PHOTOGRAPHIC ENLARGEMENTS.
There are three kinds of photographic enlargements used as a basis for
crayon portraits, and, with a little experience, the student can
determine for himself which kind will prove the most satisfactory.
Free-hand crayons are made on Steinbach and other crayon papers,
without any photograph as a basis. Silver enlargements are made on
paper coated with a solution of chloride of silver, which the action of
the light reduces to salts of silver. This is the oldest form of
photography, and has been used since its introduction by Scheele in
1778. Silver enlargements are made by the aid of the sun (and are then
called solar enlargements) or they can be made with the electric light.
Platinum enlargements are a recent advance in photographic printing
with iron salts, the process which has been worked out and patented by
W. Willis, Jr., being a development of such printing. Its principle is
that a solution of ferrous oxalate in neutral potassium oxalate is
effective as a developer. A paper is coated with a solution of ferric
oxalate and platinum salts and then exposed behind a negative. It is
then floated in a hot solution of neutral potassium oxalate, when the
image is formed.
This process was first introduced by Mr. Willis in 1874, and he has
since made improvements. He claims that the platinotype paper does not
contain any animal sizing. The early experiments convinced him that the
paper upon which the image was to be printed would prove an important
factor, as all photographic paper contained animal sizing, which was
found to be antagonistic to platinum salts. The action of platinum
salts upon a paper containing animal sizing gave it a tint which no
amount of acid washing could remove. For the past nine years Mr. Willis
has had manufactured for his special use a Steinbach paper, free from
the animal sizing, and he also uses a cold developer, thereby causing
the paper to retain its original elasticity.
The chief points of difference between bromide enlargements and silver
or platinum enlargements are that, in the former, we have the sensitive
compound of silver suspended in a vehicle of gelatin, and, in the
latter, a thin coating of an aqueous solution of the sensitive salts.
In the former process, the image is not shown until the paper has been
developed in the bath, while in the latter, the image is shown upon the
paper when it is exposed to the light; so that, in the latter, the
image or picture has only to be fixed or made permanent, while in the
former, it is developed, then fixed. The gelatin bromide paper is
coated with a solution of gelatin, bromide of potassium and nitrate of
silver, developed with a solution of oxalate of potash, protosulphate
of iron, sulphuric acid and bromide of potassium and water, and fixed
with hyposulphate of soda. It is manufactured in America by E. and H.
T. Anthony & Co. and by the Eastman Dry Plate Company.
CRAYON MATERIALS.
The following materials will be found necessary for crayon work:
A good photographic enlargement,
Easel,
Mahl stick,
Three inch magnifying glass,
Square black Conte crayon, Nos. 1, 2 and 3,
Charcoal holder for the same,
Hardmuth's black chalk points, Nos. 1, 2, 3, 4 and 5,
Holder for the same,
Box Faber's crayon points, Nos. 1, 2 and 3,
Holder for the above crayons,
Conte crayon, in wood, Nos. 0 and 1,
6 B. Faber's holder for Siberian lead pencil points,
4 H. Faber's holder with Siberian lead pencil point,
Velour crayon,
Peerless crayon sauce,
Black Conte crayon sauce, in foil,
White crayon, in wood,
Bunch of tortillon stumps,
Large grey paper stumps,
Small grey paper stumps,
The Peerless stump,
Large rubber eraser, 4 inches by 3-4 inches square, bevelled end,
Two small nigrivorine erasers,
Holder for nigrivorine erasers,
Piece of chamois skin,
Cotton batting of the best quality,
A sheet of fine emery paper,
A sharp pen knife,
One pound of pulverized pumice stone,
Mortar and pestle,
A large black apron,
Paste-board box about ten inches square and two inches deep,
Back-boards for mounting crayon paper and photographic enlargements,
Pliers,
Paste brush, three inches wide, to be used for starch paste or for
water.