bistre

Reddish-brown, marone, bistre with a golden light in it, suited her to perfection.

The Commission in Lunacy 2007

Reddish-brown, marone, bistre with a golden light in it, suited her to perfection.

The Commission in Lunacy 2007

We're victims, we say: mere vessels, drinking the vanilla scent of this one's skin, the lustre of another's eyes so skilfully darkened with bistre.

Archive 2004-12-01 Sharon Bakar 2004

We're victims, we say: mere vessels, drinking the vanilla scent of this one's skin, the lustre of another's eyes so skilfully darkened with bistre.

Julia Copus Sharon Bakar 2004

Viewed from the harbour, it is a long line of buildings, whose painful whiteness is set off by a sky-like cobalt and a sea-like indigo; behind it lies the flat, here of a bistre-brown, there of a lively tawny; whilst the background is formed by dismal Radhwah,

Personal Narrative of a Pilgrimage to Al-Madinah and Meccah 2003

Since he used to meet her in the house of the Rue Cassini, she had grown stout, and now had a double chin; but her hair was still unbleached, and her bistre complexion preserved its tinge as of old.

Balzac 2003

The chin-lines were sharpened, the eyes more sunken, while the shadows beneath them were as dark as though they were plastered on with bistre.

Maurice Guest 2003

His drawings are generally in pen outline, with a wash of bistre, or other warm colour; sometimes he makes use of black and red chalk; they are seldom finished with colours, but have often portions rendered lighter and broader by means of a wash of white.

Rembrandt and His Works Comprising a Short Account of His Life; with a Critical Examination into His Principles and Practice of Design, Light, Shade, and Colour. Illustrated by Examples from the Etchings of Rembrandt. John Burnet

Various brown inks, principally solutions of bistre and sepia, were adopted in sketching by Claude, Rembrandt, and many of the old masters.

Field's Chromatography or Treatise on Colours and Pigments as Used by Artists George Field

According to Bouvier, a colour similar to that of bistre, and rivalling asphaltum in transparency, is produced by partially charring a moderately dark Prussian blue; neither one too intense, which gives a heavy and opaque brownish-red, nor one too aluminous and bright, which yields a feeble and yellowish tint.

Field's Chromatography or Treatise on Colours and Pigments as Used by Artists George Field