,transcriber's note3 ,minor spelling and punctuation inconsistencies1 and hyphenated words1 have been harmonized4 ,italic text has been marked with underscores4 ,,the ,,art ,,of ,,graining3 ,,how ,,acquired ,,and ,,how ,,produced4 ,,with ,,description ,,of ,,colors ,,and ,,their ,,applications4 ,,with ,,lithographic ,,illustrations ,,of ,,the ,,various ,,woods ,,used ,,in ,,interior ,,finishing4 ,,with #db ,,colored ,,plates ,,on ,,stone4 ,,by ,,charles ,,pickert ,,and ,a4 ,,metcalf4 ,,new ,,york3 ,d4 ,,van ,,nostrand1 ,,publisher1 #bc ,,murray ,,and #bg ,,warren ,,street4 #ahgb4 ,entered according to ,act of ,congress1 in the year #ahgb1 by ,,charles ,,pickert ,,and ,a4 ,,metcalf1 in the ,office of the ,librarian of ,congress at ,washington4 ,,introduction4 ,the ,art of ,graining is judged by the authors of this treatise to be of sufficient importance to justify a work devoted especially to the task of giving instruction to learners of the art4 ,all graining is an imitation of some more or less well known wood1 and the learner may doubtless draw from nature the copies he desires to imitate2 but it is only trained skill that can accomplish the task perfectly1 and it is presumably true that those who1 in acquiring a long experience1 have made the obstacles to success a special study1 are best prepared to afford instruction to a beginner4 ,the authors of the work present here the result of a long experience in the practice of this decorative art1 and feel confident that they hereby offer to their brother artisans a reliable guide to improvement in the practice of graining4 ,it is earnestly recommended by the authors that learners should practise drawing the several copies given as samples1 with drawing pencils1 using both narrow and broad-pointed1 as the surest means of acquiring such thorough mastery of proper manipulation as will insure the highest degree of success4 ,it is believed1 moreover1 that experienced learners will find it not amiss to avail themselves of the methods set forth in this treatise1 affording as they do1 the sum of the examples of fellow-artisans who have carefully studied nature's own modes1 and have studiously followed such plans in working as insured the closest and most durable adherence to the original form and color4 ,,charles ,,pickert1 ,a4 ,,metcalf4 ,,instructions ,,how ,,to ,,mix ,,and ,,apply ,,the ,,colors ,,in ,,graining ,,the ,,various ,,woods ,,herein ,,represented4 ,as oak and black walnut are the principal woods imitated in graining1 we have given them a prominent place and careful attention in our work1 for when the ability to produce imitations of those properly is once thoroughly attained1 the graining of other woods becomes a comparatively easy task4 99 99 99 99 99 ,first3--,in preparing work for graining1 great attention should be given to the shellacking of all knots and other parts containing any inequalities of surface1 whether from the exudation of pitch1 gum1 or other substance2 unless this precaution is observed the pitch or gum will force itself through a great many coats of paint4 ,,oak4 ,for oak-graining the priming coat should be white1 mixed 7not too thickly7 with pure lead and linseed-oil2 then1 when thoroughly dry1 and ready for a second coat of paint1 much care should be observed in well stopping or puttying with white lead or common putty1 as may be thought best1 leaving all nail-holes or other inequalities well filled1 pressed in and rounded up1 so that when thoroughly sand-papered it will leave the surface entirely smooth and level4 ,for a second coat of paint1 a little yellow chrome or ,rochelle may be added1 sufficient to make it a light cream color1 using for a body pure lead1 turpentine1 oil1 and a small quantity of japan1 making the paint a trifle thicker than the priming coat1 having it well mixed and strained1 so that it shall not contain any lumps or foreign substance4 ,here let us say that the habit of undertaking to do graining work on two coats of paint is entirely wrong2 good work cannot by any possibility be performed unless there shall have been at least three coats laid on as a foundation1--otherwise it will not wipe out clean1 but will appear muddy and foul when completed4 ,for a third coat of grained work1 if a very light oak is desired1 add to the same mixture of lead1 oil1 etc41 sufficient yellow as before1 to produce a delicate cream1 adding to that a very small quantity of ,american vermilion1 or ,venetian red4 ,after laying on the second coat1 the work should be well and carefully sand-papered1 puttying 7as before suggested71 if necessary4 ,when the third coat has been on two or more days1 and has become thoroughly hard and dry1 use upon the surface very fine sand-paper1 so that a perfectly smooth finish may be obtained4 ,for light-oak graining-color1 use equal parts of raw umber and raw ,sienna1 and if a little darker shade is desired1 tone with burnt umber1 grinding into the same a little ,paris1 or common whiting1 which gives it body and holds it together4 ,a little beeswax or brown ,windsor soap dissolved in turpentine may be used if desired1 but in a small quantity4 ,for mixing the colors employ one-fourth boiled oil1 three-fourths turpentine1 adding for drier a very little japan4 ,graining-colors should invariably stand from six to ten hours after mixing before being applied1 and if too thick1 when adding the thinners be cautious to avoid stirring from the bottom4 ,the colors should be mixed to such a consistency1 that when put on1 a perfectly clear and transparent appearance may be obtained4 ,for darker shades of oak1 more yellow and red should be used in the ground-work and more burnt umber in the graining-color1 adding enough of the burnt umber to make the graining-color harmonize with the ground-work4 ,and here we would suggest that every grainer1 who desires to perfect himself in the art1 should procure small pieces of the various kinds of wood he wishes to imitate1 and in all cases mix his colors in harmony with those shown in the wood--mixing his ground-work so as to compare with the lightest shade observable in the wood4 ,too much care cannot be taken in the preparation of graining-colors2 more failures have been made through neglect of this1 than in the execution of the work itself1 for except the colors are in proper harmony with the wood desired to be imitated1 the work1 though well executed1 must be a failure in the production of the wished-for object4 ,for the last coat of the ground-work for oak1 there should be a sufficiency of oil to impart a slight gloss when laid on1 which enables it to be wiped clean1 free1 and unclouded4 ,for shading oak use a little raw ,sienna1 raw and burnt umber1 mixing with oil1 turpentine1 japan1 etc41 as before mentioned4 ,where knots or curls occur in the grain1 as shown in our illustration1 there light and careless shades should be thrown in1 avoiding anything prominent or harsh1 and in most cases make the growth or heart slightly darker than at the edge4 ,a beautiful effect can be produced by combing over the flaking with a fine or coarse rubber comb1 blending very lightly in the same direction the veins or comb take4 ,the effect produced is to sink the flaking1 making it look solid and true to nature4 ,for wiping out oak 7as in samples shown71 see description of process in our following chapter on black walnut1 using the same tools1 etc4 7rubber combs1 ,english or ,american steel combs in oak1 not in walnut74 ,where flaking is done it is combed first with a coarse1 then a fine steel comb1 but where heart or growth-pieces occur1 no comb should be used until wiped out1 then comb with a fine comb very lightly in the same direction the grains may run4 ,in graining1 particularly oak1 care should be taken to have the grains lose themselves regularly at the sides1 not leaving the heart-piece abruptly1 but gradually 7as shown in our illustration71 preserving a proper harmony of colors from centre to outside4 ,,black ,,walnut4 ,the same care should be taken in puttying1 sand-papering1 mixing1 and applying1 as hereinbefore suggested in the chapter upon graining oak4 ,the ground-work for black walnut should be mixed with pure white lead1 turpentine1 oil1 japan1 etc41 colored with chrome yellow or good ,rochelle ochre1 ,american vermilion1 or ,english ,venetian red1 and burnt umber1 which if properly combined produces the most proper ground-work attainable4 ,this wood varies in color1 some pieces bearing upon the yellow1 and others upon the red1 either of which may be correctly imitated by adding yellow or red as the case requires4 ,there are some pieces1 however1 of a grayish cast1 and if such a characteristic is desired in graining1 add to the ground-work a little ,vandyke brown4 ,the ground-work 7last coat7 should be so mixed as to have1 when dry1 an egg-shell gloss1 in order to prevent the first coat of graining 7which is distemper-color7 from crawling or running together4 ,black walnut is a very porous wood1 and unless the pores are properly shown in the graining1 the imitation will be far from perfect2 no grainer1 therefore1 should depart so far from nature as to omit this necessary and absolute consideration4 ,for the accomplishment of a correct imitation in this respect1 take a small quantity of sour or common ale1 or1 if not obtainable1 a little vinegar and water 7equal parts7 will do 7urine is an excellent substitute for either of the liquids named71 and to this add1 for coloring purposes1 three-fourths burnt umber and one-fourth ,vandyke brown2 when this is applied1 and before dry1 take a dry brush 7a flat one is preferable71 and whip the color thoroughly with the same1 keeping the hand close to the surface of the object to be grained2 and as pores in some pieces of walnut show far more distinctly than in others1 to imitate this1 certain portions should be whipped very coarsely1 while other portions should be whipped very fine4 ,care must be taken in whipping1 to have all joints1 etc41 left perfectly square as constructed1 and the whipping should invariably be done as the grain of the wood is designed to run4 ,the distemper-color should be mixed to a thickness1 that1 when applied and properly whipped1 the general tone of the ground-work shall not be materially changed4 ,some grainers1 before proceeding further in graining black walnut1 have varnished the distemper-coat2 we regard this as entirely useless1 as well as detrimental to the general tone of the graining when done4 ,the impression current among some painters1 that when the graining-color is applied to the distemper-color1 without first varnishing1 it 7the distemper-color7 will rub up1 is erroneous1 for when perfectly dry it is all ready to receive the graining-color4 ,after complying with the foregoing directions1 the article being now all ready for graining1 having1 as shown1 received the distemper-color1 take three-fourths burnt umber and one-fourth ,vandyke brown1 mixed with three-fourths turpentine1 one-fourth oil and japan1 using beeswax or soap to prevent its running as in oak-graining 7of course the color must be varied to comply with the ground-work by adding burnt umber1 ,vandyke brown1 or burnt ,sienna1 as hereinbefore set forth in our directions for oak-graining71 and to avoid darkening the graining but a very little1 the color should be used thin4 ,in graining a panel1 for instance1 in order to obtain a correct imitation of black walnut1 the grainer1 when running the heart-piece 7as shown in our illustrations71 should have upon his pallet1 glass1 or board1 a small quantity of umber and ,vandyke brown to darken the centre a little1 thereby showing the grains perfectly clear in the centre while they lose themselves near the outer edge4 ,in graining black walnut1 combs should be used as little as possible1 leaving all the plain parts to be finished in the glazing4 ,for wiping out growths1 some use chamois1 others use cotton cloths drawn closely over the thumb nail1 while many use in place of either1 a small piece of rubber1 or belting cut about one-fourth of an inch wide at the end used1 and in some instances1 where a cheap job of graining is desired1 rubber combs cut fine and coarse can be used with good success in running growths or hearts by blending lightly after combing4 ,this brings the work up to a finishing1 or shading point1 for which purpose use principally ,vandyke brown1 burnt umber and ivory-black1 mixed with oil1 turpentine1 etc4 7as hereinbefore named71 and by keeping upon the board1 glass or pallet1 a little of these separately1 and using more of one than the other1 a beautiful and correct variety can be produced1 it being almost impossible to find two pieces of walnut exactly alike in shade4 ,like the rest1 shading must be applied with a brush1 and where crooks1 curls1 or knots in the grain may appear 7see illustrations71 careless and light shades should be thrown in1 and in the greater number of cases cause growths a trifle darker than edges4 ,for shading the plain parts1 a fine and very proper effect will be produced by first applying the color and then by laying on a flat brush1 pressing it heavily1 and drawing it crooked or straight as desired1 then by blending the same very lightly4 ,where the brush is not thus used1 a similar effect can be produced by wiping out lines at small intervals1 then blending1 in all cases avoiding the too common error of putting too much work in the graining1 and preserve a proper harmony of colors so that when completed the work will appear rich1 clean1 and finished4 ,all graining can be finished by varnishing1 or to imitate in oil-finish if preferable4 ,should the latter be desirable take one 7#a7 quart of turpentine2 one-fourth 7#a_/d7 lb4 of white wax 7melted in turpentine71 adding one half 7#a_/b7 pint of best coach varnish 7hard drying72 one half 7#a_/b7 pint of boiled oil1 and one 7#a7 gill of japan--apply with a brush1 and use sparingly1 one coat is sufficient4 ,by conforming to our directions1 in the graining of black walnut1 great and satisfactory results will follow4 ,,rosewood4 ,in preparing work for rosewood the same instructions should be followed as are laid down in the preceding remarks upon the graining1 etc41 of black walnut1 for the ground-work of both woods is formed of the same colors1 only more of the red and yellow is used for rosewood than walnut1 as the former varies more in tone between red and yellow4 ,the same rules in both cases should be conformed with1 and similar tools in applying or laying on are used4 ,in preparing ground-work for rosewood1 however1 a little rose pink may sometimes be employed advantageously4 ,of course the egg-shell gloss must be attained after the third ground-work is laid on1 in order to receive the whipping-coat properly4 ,pores in rosewood being very fine1 the whipping should be as fine as possible4 ,the distemper color is made from burnt umber1 a very little ,vandyke brown1 and a small quantity of rose-pink1 ground in ale1 or vinegar and water1 etc41 as before mentioned1 and applied very thin4 ,the first coat of graining is mixed from ,vandyke brown1 burnt umber1 and ivory-black 7though mainly from the former71 ground very fine in oil1 turpentine1 wax1 etc41 and must stand after being mixed for some six hours before applying4 ,in some cases1 where a reddish cast is desired1 it will be well to use a trifle more of the rose-pink4 ,as the grains in rosewood run very irregularly 7see illustration71 great care must be maintained in combing1 it being necessary in most cases to employ extremely coarse and fine combs2 and at times it may be absolutely necessary to use a pencil1 in bringing up this imitation to perfection1 and all of the combing and pencilling must be blended down very softly with a fine badger blender4 ,for the glazing1 the same colors may be used1 though chiefly ,vandyke brown and ivory-black1 making the dark places principally from the latter1 though1 of course1 all of these colors are to be made exceedingly thin and as transparent as possible4 ,where a particularly rich finish is desired1 a good effect will result by giving the work another extremely thin coat of glazing1 composed of rose-pink with a little ivory-black1 thus sinking and harmonizing the whole work1 giving it a rich and very fine appearance4 ,when the work becomes thoroughly hard and dry1 it can be finished either in varnish or oil1 as heretofore mentioned in the finishing of black walnut4 ,,maple4 ,this1 though a very beautiful wood1 is not as commonly used in graining as some others1 though a fine effect can be produced by graining panels1 etc41 in rooms where the principal graining may be black walnut1 oak1 or rosewood1 forming thus a contrast1 which1 when well executed1 presents an extremely fine appearance1 and as maple is never used for an outside finish 7therefore not being exposed to the weather71 it can be grained more successfully in distemper than in oil1 and also much more readily1 the consequence of which is1 we shall speak of it as being grained only in distemper color1 though the same colors1 used by a skilful hand1 in oil1 will produce the same beautiful effect4 ,the ground-work for maple is made from white1 tinted with chrome yellow1 making the very lightest cream1 and the same rules as to mixing1 laying on1 etc41 etc41 are applicable to the graining of maple as to the other woods hereinbefore mentioned1 viz41 walnut1 oak1 and rosewood4 ,the graining color is made from raw ,sienna and a little raw umber1 not far from equal parts1 and ground fine in ale1 etc41 as before laid down for distemper colors4 ,by rubbing the ground-work upon which all distemper colors are laid1 with a damp sponge1 it will be found to take the color much more readily than when not so rubbed4 ,the tools necessary for the graining of maple are a badger-hair blender1 two or three top1 or over-grainers1 varying in width2 and in running of heart-pieces1 pencils must be used4 ,for making the curls in curly maple1 there can be nothing better than a raw potato1 cut1 say two or three inches wide1 with a thin1 straight edge1 although the work can be performed by using a piece of rubber1 or belting1 with a similar straight edge4 ,a flat camel's-hair brush1 used wet1 will accomplish the same1 and for this purpose it is employed quite successfully4 ,in forming the bird's-eyes1 a potato cut in two1 near the centre1 with various inequalities made upon the smooth surface1 and carelessly pounced over the surface of the work1 will prove successful2 but we know of nothing better adapted for this purpose than the ends of the fingers1 touching the surface therewith at intervals4 7,see samples47 ,after a thin coating of the distemper is laid on1 for the production of curly maple1 take a potato1 or some one of the other things spoken of1 and form the curls by running it crosswise1 making them as irregular and careless as possible1 then blend them down to a perfect harmony1 after which pounce the same with the end of the blender as softly and finely as possible1 as the pores in maple are nearly indistinct4 ,after allowing this to dry thoroughly1 if a heart or growth is desired1 run the same with a pencil as before mentioned1 or form the grains by taking the over-grainer1 touching it in the color 7having combed the grainer before being touched in the color72 then run it down over the work1 holding the hand near the work2 then blend those also carefully1 and1 especially in maple1 avoid anything harsh or stiff in the color1 or the running of the grains1 as maple1 when completed1 is a very light and transparent wood4 ,where bird's-eye-maple is desired 7after the thin distemper color has been used71 take the damp sponge and roll it carelessly over the surface1 which will remove a portion2 then blend softly as in forming the curls1 after which1 and before it is allowed to dry1 form the bird's-eye with a potato or fingers1 as before mentioned1 in those parts where the color has not been removed2 then1 when entirely dry1 form the grains either with a pencil or a grainer1 as set forth in directions on curly maple4 ,care should be taken to have the bird's-eyes shaded 7as per illustration71 thereby making them natural and complete4 ,after complying with the foregoing instructions1 the work is ready for the varnish1 and in most cases will be found satisfactorily finished1 though it can be materially improved by first giving it a very thin coat of varnish1 then a very thin glazing coat of the same colors1 though principally of ,sienna1 forming curls1 shades1 etc41 where they may have been omitted1 or will be found to improve the work4 ,you will observe in our illustrations that the grains of maple1 both bird's-eye and curly1 are entirely different from those of any other kind of wood1 both in course and formation4 ,in all cases the illustrations herein given must be followed as closely as possible1 which1 if properly complied with1 will1 in all cases1 produce the desired result4 ,if desired to be grained in oil1 combs should be used instead of top1 or over-grainers4 ,in connection with maple1 we would here say that there is such a wood as satin-wood1 but it is rarely used in any manner4 ,if1 however1 it should be desirable to grain it1 it will be found that the colors used in graining maple 7raw ,sienna being the chief material7 are the same as those used in the graining of satin-wood1 and the process varies in no essential manner1 only that the colors and graining should be more indistinct with satin-wood1 it being an extremely pale and transparent wood4 ,care must be observed to preserve in the imitation the purity and character of the original4 ,,ash4 ,a very beautiful and prolific wood1 attainable so easily throughout the greater part of the country1 is now growing in daily favor for the interior of houses and other buildings1 its susceptibility of high finish making it desirable as well as handsome1 and probably when well grained it presents more attractiveness than any of the other woods4 ,grainers1 therefore1 should become skilled as far as possible in the imitation of this brilliant and durable wood1 and it seems our duty to call especial attention to our illustrations of this wood while endeavoring to impress upon the minds of our readers its adaptability for the purposes herein cited4 ,the ground-work of ash is produced by using a little chrome or ,rochelle yellow1 together with the least possible tint of red1 to which add a trifle of ,vandyke brown4 ,but little of this must be used or the ground-work will be too gray4 ,the color when mixed must compare with the lightest shade found in the wood itself4 ,the ground-work must be left with the egg-shell gloss1 spoken of in our former chapters4 ,ash being a very porous wood1 the pores1 therefore1 must1 in no case1 be left out in the graining1 otherwise the work will be incomplete1 and for the purpose of producing those take one-half raw umber1 one-fourth raw sienna1 and one-eighth ,vandyke brown2 grind all in ale1 etc41 and apply the same1 using it very thin1 and whipping it thoroughly1 as instructed in directions pertaining to rosewood1 etc4 ,for the second coat1 or oil-graining1 use the same colors in about the same quantities1 ground in oil1 turpentine1 wax1 etc41 as mentioned in graining other woods4 ,the same rules as to graining black walnut--darkening the centre a little1 and having the grains lose themselves at the sides or ends--are applicable in the graining of ash1 and the same tools should also be used in the graining of this wood as are used in that of black walnut2 the hand should run the same as in graining walnut1 and the grains should run with equal regularity4 ,in shading1 the same colors may be used1 adding a little more ,vandyke brown1 and grainers1 particularly in shading1 should study to imitate nature itself in each particular4 ,of course the colors should be so mixed and strained as to avoid the possibility of their containing harsh or lumpy substances1 so that the work will prove to be clean1 smooth1 and free from any cloudy or impure appearance4 ,it can be finished in varnish1 or in oil1 the same as other woods heretofore named4 ,,chestnut4 ,is largely used1 and1 like ash1 is a particularly beautiful wood4 ,becoming so well and favorably known for the various purposes to which it can be applied1 grainers should study well its beauties1 and in their imitation thereof strive to hold the mirror up to nature4 ,the ground-work of chestnut is produced with the same class of colors as that of ash is1 only a little more ,vandyke brown should be employed1 to produce a more grayish tint than is found in ash4 ,though chrome is used in the ground-work of chestnut1 we deem it inferior to ,rochelle yellow1 inasmuch as the latter has a more subdued shade1 in nearer conformity to chestnut1 than that produced by chrome1 the latter giving the work a more sprightly hue than is observable in the wood itself4 ,chestnut is very porous1 or rather it shows a more porous condition than ash itself1 and to produce this there should be used a little raw umber1 raw ,sienna1 burnt umber1 and ,vandyke brown1 in nearly equal parts1 ground in ale1 giving the work a very thin coat1 and whipping coarsely1 so that when done the pores will show very plainly4 ,for the second1 or oil-graining1 use the same colors1 in the same quantities1 ground in oil1 turpentine1 wax1 etc41 as before instructed4 ,grain on much the same principle as in ash1 only coarser1--the grains in chestnut running much coarser1 but yet with the same regularity as those found either in ash or black walnut4 ,for shading chestnut use a little burnt umber and ,vandyke brown 7rather more of the former71 to which add a small quantity of raw ,sienna1 grinding them in oil1 turpentine1 etc4 ,in applying this color have it very thin1 as in other grainings1 and as chestnut is a plain wood1 presenting a great uniformity of color in itself1 great care must be taken to avoid any material change in the appearance of the graining by any heavy shades4 ,this rule1 it will be observed1 is in this regard dissimilar from that laid down to govern the graining of ash1 as the latter presents in nature many heavy and eccentric shades1 etc41 while in the former there is very little diversity in the shade4 ,the same process of wiping out and darkening the centre is applicable to this wood as that set forth to govern in the cases of walnut and ash1 similar combs and tools being used in the work upon each and all2 and1 like the other woods1 chestnut can be finished in oil or varnish1 as heretofore noted1 and when finished is substantial in appearance and very beautiful4 ,illustration3 ,pl4 #a ,,oak ,,flaking4 ,illustration3 ,pl4 #b ,,oak ,,growth4 ,illustration3 ,pl4 #c ,,oak ,,flaking4 ,illustration3 ,pl4 #d ,,oak ,,growth ,,and ,,flaking4 ,illustration3 ,pl4 #e ,,oak ,,flaking4 ,illustration3 ,pl4 #f ,,oak ,,growth4 ,illustration3 ,pl4 #g ,,oak ,,flaking4 ,illustration3 ,pl4 #h ,,oak ,,growth4 ,illustration3 ,pl4 #i ,,oak ,,flaking4 ,illustration3 ,pl4 #aj ,,oak ,,growth4 ,illustration3 ,pl4 #aa ,,oak ,,flaking4 ,illustration3 ,pl4 #ab ,,white ,,oak ,,growth4 ,illustration3 ,pl4 #ac ,,oak ,,flaking4 ,illustration3 ,pl4 #ad ,,white ,,oak ,,growth4 ,illustration3 ,pl4 #ae ,,oak ,,flaking4 ,illustration3 ,pl4 #af ,,oak ,,growth1 ,,showing ,,knots4 ,illustration3 ,pl4 #ag ,,oak ,,growth4 ,illustration3 ,pl4 #ah ,,black ,,walnut ,,growth4 ,illustration3 ,pl4 #ai ,,black ,,walnut ,,growth4 ,illustration3 ,pl4 #bj ,,black ,,walnut ,,growth4 ,illustration3 ,pl4 #ba ,,black ,,walnut ,,growth4 ,illustration3 ,pl4 #bb ,,black ,,walnut ,,growth4 ,illustration3 ,pl4 #bc ,,black ,,walnut ,,growth4 ,illustration3 ,pl4 #bd ,,black ,,walnut ,,growth4 ,illustration3 ,pl4 #be ,,black ,,walnut ,,growth4 ,illustration3 ,pl4 #bf ,,black ,,walnut ,,growth ,,and ,,crotch4 ,illustration3 ,pl4 #bg ,,french ,,walnut4 ,illustration3 ,pl4 #bh ,,french ,,walnut4 ,illustration3 ,pl4 #bi ,,rosewood4 ,illustration3 ,pl4 #cj ,,rosewood4 ,illustration3 ,pl4 #ca ,,rosewood4 ,illustration3 ,pl4 #cb ,,curled ,,maple4 ,illustration3 ,pl4 #cc ,,birds ,,eye-,,maple4 ,illustration3 ,pl4 #cd ,,curled ,,maple4 ,illustration3 ,pl4 #ce ,,ash ,,growth4 ,illustration3 ,pl4 #cf ,,ash ,,growth4 ,illustration3 ,pl4 #cg ,,ash ,,growth4 ,illustration3 ,pl4 #ch ,,ash ,,growth4 ,illustration3 ,pl4 #ci ,,chestnut ,,growth4 ,illustration3 ,pl4 #dj ,,chestnut ,,growth4 ,illustration3 ,pl4 #da ,,chestnut ,,growth4 ,illustration3 ,pl4 #db ,,chestnut ,,growth4