- Translation Ursus Dix, cloth-bound, hardcover, 672 pages, Kremer 2001 edition
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€ 40.70
With Reference to selected Eighteenth-century Sources, by Leslie Carlyle
Das Standardwerk über Malmittel des 19. Jahrhunderts.
- € 154.-
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The Pigment Register includes information on both historic and modern colours, which relate to the KREMER PIGMENTE catalogue.
Also included are the colour index, common names, origin and composition, pigment properties such as tinting strength, shade,
opacity, suitability to media, health and safety information.
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The Pigment Register includes information on both historic and modern colours, which relate to the KREMER PIGMENTE catalogue.
Also included are the colour index, common names, origin and composition, pigment properties such as tinting strength, shade,
opacity, suitability to media, health and safety information
In grey portfolio---special price---
- Mireia Xarrie is an art historian (Universitat Autònoma de Barcelona, 1994). In addition to her experience in
the Barcelona-based family restauration business, she worked on several international conservation projects
(e. g. mural paintings in Basel, Switzerland ans Oxirricn, Egypt.)
The glossary/dictionary provides not only definitions of conservation terms, but also gives references to previously
published sources. It contains written definitions from reknown English and Spanish sources.
180 pages
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The continual struggle of conservation to ameliorate the deterioration of objects has led to increasing use of synthetic polymers.
These materials are part of the sophisticated technology that has been developed to augment and often replace traditional materials
and methods. Conservators therefore have a wider range of techniques available. However, they must be able to
appreciate the potentials and pitfalls of any proposed technique. This book provides, in a convenient form, a summary of
necessary information.
Paperback, 281 pages
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A manual for the fine metalworker and sculptor
cast bronze - cast brass - copper and copper-plate - gilding metal - sheet yellow brass - silver and silver-plate
A remarkable achievement: hundreds of recipes and treatments previously scattered in a variety of old books and technical papers are brought together, all tested and evaluated.
220 color illustrations show examples of surface finishes on test pieces of metal
372 pages, 275 illustrations, 16 color plates, hard-cover
Professor Laurie has based this book on an intensive study of great master paintings and manuscripts as well as on actual experiment.
Unabridged, unaltered republication. 48 plates, 16 illustrations in text.
- Here is a unique reference book which every serious painter will find indispensable. FORMULAS FOR PAINTERS gathers for the
first time in a single volume over 200 recipes for making sizes, grounds, mediums, glazes, varnishes, fixatives, and adhesives.
- Since 1940, when it was originally published, The Artist's Handbook has been indispensable for thousands of
practicing artists and art students. It is, as American Artist Magazine calls it, the "artist's bible", an invaluable
reference for the painter, sculptor, and printmaker.
- The book starts with sections on goldbeating and various types of metal leaf. It continues with
a description of the tools used by gilders, and an explanation of how to make and apply gesso.
The main part of the book contains detailed instructions for handling loose and transferred leaf as well as
the tchniques of both oil gilding, and burnished and mat gilding. The last chapters cover such subjects as
lettering, the transfer of designs, the arrangement of bands on harpsichord casas, the use of
more than one color of gold, metal powders, schlag and glazes.
209 x 141 mm, line illustrations, paperback
- The properties and use of imitation gold and silver pigment, leaf and powder.
Contents e.g.:
Pearlescent Pigments, Iridescent Pigments, Interference Pigments, Bronze Powders, Shell Gold & Silver, Metal Leaf, Imitation Gold Leaf,
Combining Gold Effects into Oil Painting
15 pages, 12 handpainted samples
- Contents e.g.:
Materials List - Binding Agents - Making Pastel Sticks - Grounds for Pastel Painting - Fixing Soft Pastel - Recipes
English / German, 18 pages, approx. 25 hand painted samples
- A handbook for artists. Including historic and modern watercolour palette
Contents: Historical Background - Properties of Watercolour - Commercially Prepared Watercolours - Hand-prepared Watercolours - Lightfastness and Permanence - Supports for Watercolour Painting - Papermaking - Comparison of Weights and Watercolour Paper - Stretching Watercolour Paper - Care and Storage of Watercolours - Brushes for Watercolour Painting - Auxiliary Materials - Painting Additives - A Watercolour Palette for Permanent Painting
66 pages, about, 24 hand painted samples
- The Artist's Handbook provides artists with in-depth, practical information on the materials, equipment and skills
necessary for all areas of artistic practice. Topics covered include advice on how to select appropriate art materials,
including paints, brushes, canvasses and drawing materials; techniques for making your own pigments, glue, varnishes and paper;
advice on how to achieve the best results from both manufactured and hand-made materials; the best methods of storing and
preserving finished artworks, and health and safety precautions.
softcover, 520 sites, 24 x 16 cm
- This comprehensive publication offers a valuable insight into recent research and development with regards
to the materials and methodologies within contemporary painting practice. Paint Theory – Paint Practice
has been compiled from interviews, contributed papers and first hand oberservations in the United Kingdom,
United States and Germany.
English, 149 pages
- The subjects discussed in this booklet include: historical materials and styles; pigments,
oils and varnishes; mixing and matching colors; paint systems and layer structures;
polishing with abrasives and also the techniques used in marbling. Although intended as a
practical manual, emphasis is laid not only on how to paint, but also on why certain materials
or techniques are used. The revision takes account of materials that can be bought today and
a chapter has been added on textured finishes to complement the one on marbling.
209 x 141 mm, line illustrations, paperback
- The Foremost Medieval Treatise on Painting, Glassmaking and Metalwork
This translation of the medieval manuscript most essential to an understanding of pre-Renaissance art and technology is the result
of a collaboration between a Latin scholar and a metallurgist. Their fully annotated edition presents complete bibliographic and
biographic data, with 18 illustrations of surviving work in the manner of Theophilus, including examples by the Benedictine
monk Roger of Helmarshausen, who appears to be the true author using a Byzantine pseudonym. Theophilus teaches, with rigorous
attention to fact but also with great reverence, the making of pigments for fresco painting, the manufacture of glue, the technique of
gold leaf on parchment (the first recorded European reference to true paper), how to blow glass and design stained glass windows,
fashion gold and silver challices, make a pipe organ and church bells. Precies instruction on enamelling, chasing, repouss‚
niello, and beaded wire work prove Theophilus' first-hand knowledge of his craft.
Translation, introduction, notes by John G. Hawthorne and Cyril Stanley Smith. Updated bibliography.
Paperbound, 216 pages, index, 45 plates and diagrams
- Based upon years of study of medieval manuscripts and enlarged by laboratory analysis of medieval paintings, this book
discusses carriers and grounds, binding media, pigments, coloring materials, and metals used in painting.
It describes the surfaces that the medieval artist painted upon, detailing their preparation. It analyzes binding media, discussing relative merits of glair vs gums, oil glazes, and other matters. It tells how the masters obtained their colors, how they processed them, and how they applied them. It tells how metals were prepared for use in painting, how gold powders and leaf were laid on, and dozens of other techniques.
Foreword by Bernard Berenson, index, 239 pages, paperbound
- Contents: Use of tempera, carriers and grounds, methods of drawing, application of metals, pigments and brushes, painting,
varnishing and framing. The earliest type of painting known to man has changed little since this book was first published in 1936.
141 pgs, 89 b/w illustr., ppbk
- Contents: The Myth and Magic - From antiquity to the Middle Ages - Indigo's Heyday, the Downfall of Woad
and Salvation of Denim - Indigo Plants and the Making of their Dye - Blue Nails: Indigo Dyeing Worldwide -
The Variety of Decorative Techniques - "For Richer, for Poorer": Textiles prestigious and Popular -
Blue Art - "In Sickness and in Health": Blue Beards, Blue Bodies - Into the future
Paperback, 264 pages, many coloured photos and illustrations
- In this study, the etmology, botany and history of madder from 3000 B.C. to the present day are
complented by histories of dyeing wool, cotton and silk as well as the development of pigment.
Walden-like accounts of its cultivation in the 19th-century Caucasus in particular are compared
with the artifice of world leaders at the time in Holland and France - just one example of how
the story of madder mirrors the historic rivalry between Europe and the Orient. Descriptions
of the processing of the profitable root into its various powder forms and its adulteration, detailed
profit and loss calculations and a quantative economic history of the 19th century madder boom
all help create the grist of a vibrant study of what once was a major wolrd commodity.
Hard-cover, 384 pages, b/w-illustrations
- The present volume is a facsmile, with translation, of the Shanghai edition of 1887-1888,
the first lithographic edition and the one which provides superior examples of the brushbroke
forms and gives a better idea of the vitality of the brushwork, always a matter of primary
concern in Chinese painting. There are over 400 examples of brushwork, ranging from the single
stroke of a blade of grass or a flower petal to the composition of a tree, village or mountain.
These examples help not only to clarify the text but also to enunciate the principles and
standards of the tao of painting and to demonstrate how the traditions were handed down from
period to period.
Translated from the Chinese and edited by Mai-mai Sze.
624 pages, many b/w-illustrations
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· Groundbreaking developments in the conservation of canvas paintings
· Includes in-depth discussion on the causes of commonly found problems and treatments
· Contains numerous case studies, ranging from Old Master paintings to contemporary works.
As an active contributor to professional conferences and publications over the past 40 years, Gustav Berger is best know for the development of BEVA, the widely acclaimed adhesive, specifically formulated for use in the conservation field, and for his groundbreaking research into the cracking of paint. With this long-awaited book, Berger offers the reader fresh insights into his deliberations over conservation problems and treatments. Anyone interested in the development of modern conservation practices will find this volume an invaluable reference and fascinating read.
Hard-cover, 246 x 175 mm, 376 pages, 16 colour plates, 144 halftones
- Giorgio Vasari (1511 - 1571) is well known for his celebrated work on the lives of the Renaissance artists.
But not many people know that Vasari was a painter and architect as well as a biographer, and that he wrote one of the most valuable
treatises on the technical methods of the painters, architects, and sculptors of his time. This is the first and only English
translation of this important technical material (originally published in 1550 as an introduction to Vasari's "Lives of the Artists").
Unabridged republication of 1st (1907) edition. Edited with introduction and notes by Professor G. Baldwin Brown. Index. 18 plates, 11 figures, 328 pages, paperbound.
- The foremost Renaissance treatise on the methods of painting. Full of practical details that may tempt to experiment,
this book is filled with curious information that helps us understand the magnificent work produced during that age.
142 pages, index, paperback
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Peindre à l'huile come les Maitres, c'est l'object du présent ouvrage, qui livre tout
le savoirfaire pour y parvenir.
Aux XVIe et XVIIe siècles, la technique dans l'art en occident fut portée à un haut degré de perfection; La formation du jeune peintre avait lieu dans l'atelier d'un Maitre, lequel, avant meme de le laisser peindre, lui faisait broyer les couleurs, imprimer les toiles, cuire l'huile et garnir les palettes. Ainsi, était-il mis au fait des secrets du métier.
Aujourd'hui, ce savoir est perdu. Peindre ne s'enseigne même plus dans les écoles d'Arts.
Par l'étude rigoureuse des traités anciens durant plus d'un demi-siècle, en enant compte des amalyses scientifiques récentes faites par les laboratoires des musées sur des oeuvres des Maitres, et par la mise en pratique des résultats de cette recherche dans sa peinture, l'auteur nous montre ici l'essentiel de ce savoir qu'il a retrouvé.
159 pages, including many colored photographs
- This valuable book on the craft of painting has built a reputation as the accepted authority on questions of materials
and technique. Professor Max Doerner's skillfull explication of the scientific basis for technique, drawing on twenty-five years
of teaching at the Academy on Fine Arts in Munich, was carefully translated by Eugen Neuhaus,
then Professor Emeritus of Art at the University of Califoria, Berkeley. The importance of the work to scholars, artsist,
restorers and conservators has grown over the fifty years it has been in print in the United States, and the book has helped
foster the appreciation for sound craftsmanship so necessary to the continuing tradition of painting as a fine art.
Paperback edition, 435 pages, illustrated with eight plates
- Including the First Complete English Translation of the De Mayerne manuscript, B.M. Sloane 2052
The great masters painted with great speed and used "illusions" that were made possible through the use of various mediums and varnishes that they developed and often kept secret. These very same mediums and varnishes and their methods of manufacture are described in detail in "recipe" format by Mr. Fels. This compilation of lost studio practices and mediums used by Renaissance and Baroque craftsmen and painters is the result of Mr. Fels' 10 years of research as master musical instrument maker, artist, and maker of historical paint mediums. Conceived from an artist and craftsman's point of view, this work is a must read for those interested in methods and materials prior to 1700.
386 pages, some color illustrations, 11" x 8 1/2", hardcover
- Quickly becoming our favorite book on making your own paints. Easy recipes for oil, water-thinned, tempera, encaustic,
pastel, murals and acrylics.
All the basic information, completely up-to-date (1993), with a good guide of nontoxic materials and safety precautions in the art studio, written by the chairman of the committee that brought us ASTM D-4236.
320 pages, 20 b/w illustr., ppbk
- Sir Charles Estlake, a former president of the British Royal Academy, and director of the National Gallery,
was one of the world's foremost experts on the technqiues of painting.
A painter of considerable renown himself, he devoted years to travelling throughout England and Europe,
where he searched through museums, monasteries, universities, and libraries, gradually amassing a collection of
rare manuscripts from which he has able to reconstruct the technical secrets of the great painters of the past.
Two volumes bound as one, paperback
- Between the late sixteenth century and early nineteenth centuries the artist's world underwent great and significant change; by the
end of this period the transition from medieval to modern colours was well under way. R. D. Harley's book applies itself to a detailed and comprehensive
examination of the primary documentary sources of this crucial period, providing an unvaluable complement to the work of analytical scientists
concerned with the identification of pigments.
Reprint, paperback, 256 pages, 53 halftones, 6 colour plates
- This pioneering treatise and handsomely illustrated book on mounting prints and drawings, anchored on a century and a
half of practice, covers the materials, working procedures, tools and equipment for safely mounting prints and drawings
for display and storage. Stamping methods, cataloguing and studio organisation are also covered.
This book which will appeal to conservators, collection managers, curators and collectors, contains a wealth of historical information that will not be found elsewhere and will itself become a book of historical importance:
CONTENTS:
1. Theoretical Background
2. Mounting Instructions
3. Stamping Instructions
4. Mounting Studio
5. List of Suppliers
Hardback, 186 pages, 87 colour illustrations
- This important publication focuses on the descriptions of mounting and housing presented at the two-day international
conference "Mounting and Housing Art on Paper - for Storage and Display" at the British Museum in May 2005.
This generously illustrated book is intended to provide an in-depth view of the significance of mounting - in the historical
study of prints and drawings, the preventative care of paper artefacts and in the management of paper collections.
In this varied compilation of case-studies and investigations, which will appeal to conservators, collection managers, curators and collectors alike, emphasis is placed on historical, technical and scientific information, whilst also exploring the ways in which knowledge can be practically applied to benefit paper collections worldwide:
CONTENTS:
1. Historical Mounting
2. Materials and Microenvironments
3. Contemporary Practice in Mounting and Housing
Hardback, 208 pages
- This book contributes significantly to the selection of appropriate and controllable cleaning methods for varnished and
unvarnished paint surfaces.
Aqueous methods are certainly worth considering for those surfaces which cannot be cleaned safely by more traditional methods based on the use of solvents.
Paperback, 198 pages, many b/w and coloured photos and illustrations
- The work of seven contributors – Robert L. Barclay, May Cassar, Friedmann Hellwig, Cary Karp, Arnold
Myers, Scott Odell and Mimi Waitzmann – from a wide range of specializations in the care and preservation
of historic musical instruments has been incorporated in this book.
Topics covered include: ethics and the use of heritage musical instruments. whether they are in the possession
of individuals, private collectors or museums; materials; basic conservation treatments; maintenance
strategies and documentation. The book invludes a bibliography and details of the resources, advice
and support available to the custodians of collections.
Paperback, 145 pages
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A comprehensive resource book for violinmakers, including practical information about the pigments
and dyes used in varnish-making. The text of this book aims to broaden the understanding of the
materials and show how the "Violin Varnish" materials are combined into varnish. In many senses,
this book is a starting point for the individual who is looking for further clues in regard to the
classic techniques of violin varnishing.
A colour chart with 12 historic and 12 modern colour samples is included.
Paperback, 62 pages
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Interesting Information on resins and basic materials for violin varnish and advice on varnishing.
Contents: A description of natural resins suited for making varnish for musical intruments - a description of natural dyes for coloring varnishes for musical instruments - Volatile oils and balsams used in making varnish for musical instruments - glue from natural products - instructions for treating raw resonant wood prior to the final varnishing - appendix - index
127 pages, hard-cover
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Until recently, little attention has been paid to the surfaces of furniture even less than to
wall decoration, plaster structuring, etc.
Research findings and restoration concepts described here relate to individual, very special cases. Perhaps one or the other institute or laboratory will be able to specialize in this field making analyses on a broader basis possible, so that as a consequence we could deepen our comprehension of the surface effects to strived at in the past.
398 pages, DIN A4
*NEW:
Bertrand Lavédrine - A Guide to the Preventive Conservation of Photograph Collections
- More than thirty years of continuing research into the preservation of photographic collections have led to a better
understanding of the fragility of these images and the means by which to preserve them. A useful resource for the photographic
conservator, conservation scientist, curator, as well as professional collector, A Guide to the Preventive Conservation of
Photograph Collections synthesizes both the enormous amount of research that has been completed to date and the international
standards that have been established on the subject.
The book opens with a description of the principal forms of deterioration that photographs may undergo. It surveys the variety of containers used to house photographs and the environmental conditions each is meant to improve. The book discusses the maintenance of photographic collections and the precautions that must be taken in exhibiting them. Special attention is given to the digital technology and innovative techniques available to manage a photographic collection and ensure its longevity.
Bertrand Lavédrine works at the Centre de Recherches sur la Conservation des Documents Graphiques (CRCDG), a research center in Paris, France, dedicated to the preservation of paper documents, prints, films, and photographs.
312 pages, 128 color and 15 b/w illustrations
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