British watercolour cakes from the eighteenth to the early twentieth century

Studies in Conservation

Volumn 50, Issue 1, 2005, Pages 45-66

  Ormsby, Bronwyn A ^a,b   Townsend, Joyce H ^a,b,c   Singer, Brian W ^d   Dean, John R ^d  

^a Tate   (United Kingdom)

^b Leverhulme Fellow   (United Kingdom)

^c Glasgow Museums Resource Centre   (United Kingdom)

^d NORTHUMBRIA UNIVERSITY   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

ENERGY DISPERSIVE SPECTROSCOPY; GAS CHROMATOGRAPHY; HYDROLYSIS; MASS SPECTROMETRY; OPTICAL MICROSCOPY; SCANNING ELECTRON MICROSCOPY;

BRITISH WATERCOLOUR CAKES; GUM ARABIC; PLANT GUMS; WATERCOLOUR PAINTS;

PIGMENTS;

ACACIA SENEGAL;

EID: 18644363454     PISSN: 00393630     EISSN: None     Source Type: Journal    
DOI: 10.1179/sic.2005.50.1.45     Document Type: Article

References (55)

1. Ormsby, B.A., The Materials and Techniques of William Blake's Tempera Paintings. William Blake 1757-1827, unpublished PhD dissertation, Northumbria University, Newcastle (2002).
2. Ormsby, B.A., Singer, B.W., and Dean, J., 'The painting of the temperas' in William Blake the Painter at Work, ed. J.H. Townsend, Tate Publications, London (2003) 40-44, 110-159.
3. Mayer, R., The Artists' Handbook of Materials and Techniques, 5th edn, Faber and Faber, London (1991).
4. Hardie, M., Watercolour Painting In Britain, II, The Romantic Period , B.T. Batsford Ltd, London (1966) 10-11.
5. Smith, J., A Short and Direct Method of Painting in Watercolours Written by the Late Ingenious Mr. Smith, printed for Mary Smith, London (1730) 3.
6. Tingry, P.F., The Painter and Varnisher's Guide; Or, A Treatise, Both In Theory and Practice, on The Art of Making and Applying Varnishes; On The Different Kinds of Painting; and On The Method of Preparing Colours Both Simple and Compound..., printed for G. Kearsley, London (1804).
7. Ackermann, R., A Treatise on Ackermann's Superfine Water Colours: With Directions on How to Prepare and Use Them: Including Succinct Hints on Drawing and Painting, printed for R. Ackermann, London (1801) 18-19.
8. Cohn, M.B., Wash and Gouache, A Study of the Development of the Materials of Watercolour, Fogg Art Museum and the American Institute for Conservation, Harvard University, Cambridge, Mass. (1977).
9. De Massoul, C., A Treatise on the Art of Painting, and the Composition of Colours..., published by the author, London (1797) 222-223.
10. Dossie, R., The Handmaid to the Arts..., Vol. 1, 1st edn, printed for J. Nourse, London (1758).
11. Carlyle, L., The Artist's Assistant, Archetype Publications, London (2001).
12. Vibert, J.G., The Science of Painting, translation from the 8th French edn, rev. Percy Young, London (1892) 157-159, 188.
13. James, R., Pharmacopoeia Universalis: Or, A New Universal English Dispensatory, 3rd edn, Vol. 3, printed for T. Osborne, London (1764) 228.
14. Eastlake, C., Materials for a History of Oil Painting, Vol. 1, Longman, Brown, Green and Longmans, London (1847) 549.
15. Doerner, M., The Materials of the Artist and Their Use in Painting, With Notes on the Techniques of the Old Masters, George G. Harrap and Co., Bombay and Sydney (1935).
16. Tingry, P.F., The Painter and Varnisher's Guide..., 2nd edn, corrected and improved by a practical chemist, printed for Sherwood, Neely and Jones, London (1816).
17. Field, G., Chromatography; or, A Treatise on Colours and Pigments, and of their Powers in Painting, Etc, Charles Tilt, London (1835).
18. Phillips, G.F., The Art of Drawing and Painting Simplified, A.H. Baily and Co., London (1840) 28.
19. The Strasburg Manuscript: A Medieval Painter's Handbook, trans. V. Borradaile and R. Borradaile, Alec Tiranti, London (1966).
20. Peacham, H., The Art of Drawing with the Pen, and Limming in Water Colours, More Exactlie then Heretofore Taught and Enlarged, printed by Richard Braddock, for William Jones, London (1606).
21. Peacham, H., The Gentleman's Exercise, or, An Exquisite Practice; as well as for Drawing all Manner of Beasts in their True Portraitures: as also the Making of all Kinds of Colours, to be Used in Limming, Painting..., printed for I.M, London (1634) 67.
22. Reports by The Juries' Exhibition of the Works of Industry of All Nations, Printed for the Royal Commission, by William Clowes and Sons, Stamford Street and Charing Cross, London (1851).
23. Poole, B., Statistics of British Commerce, Being A Compendium of the Productions, Manufactures, Imports and Exports of the United Kingdom in Agriculture, Minerals, Merchandise, Etc., W.H. Smith & Son and Simpkin, Marshall & Co., London (1852) 176.
24. Anon., Hand Book of the Elements of Painting in Water Colours: With Practical Instructions for Mixing and Shading the Same, published by H.G. Clarke, London (1843).
25. Clark, J.H., A Practical Essay on the Art of Colouring and Painting Landscapes in Water Colours..., printed for Edward Orme, London (1807).
26. Anon., The Art of Drawing and Painting in Water-colours: Wherein the Principles of Drawing are Laid Down... with Instructions for Preparing, Mixing, and Managing all Sorts of Water-colours Used in Painting, new edition, printed for G. Keith, London (1770).
27. Hayter, C., An Introduction to Perspective, Adapted to the Capacities of Youth... To Which is Added, A Compendium of Genuine Instruction in the Art of Drawing and Painting, 4th edn, printed for Kingsbury, Parbury and Allen, London (1825) 291.
28. Fielding, T.H.A., On Painting in Oil and Water Colours, for Landscape and Portraits; including the Preparation of Colours, Vehicles, Oils Etc. , published for the author by Ackermann and Co., London (1839) 76-77.
29. Mantell, C.L., The Water-Soluble Gums, Reinhold, New York (1947) 44.
30. Clark, P., University of Durham, personal communication on several occasions (1999).
31. Artists' Catalogue, Atlantis, London (1997) 76.
32. Clark, J.H., Elements of Drawing and Painting in Water Colours;..., Wm. S. Orr and Co., Edinburgh, W and R. Chambers, London (1838) 132.
33. Church, A.H., The Chemistry of Paints and Painting, 3rd edn, Seeley and Co., London (1901).
34. Hilaire, H., Notes on the Technique of Painting, Faber, London (1969) 231.
35. Goeree, W., An Introduction to the General Art of Drawing, Wherein is Set Forth the Grounds and Properties, Which of this Infallible and Judicious Art are Necessary to be Known and Understood..., printed for Rob. Pricke, London (1674) 9.
36. Anon., The Art of Drawing and Painting in Water-colours... With Instructions for Making Transparent Colours of Every Sort; Partly from Curious Personages in Holland, France and Italy; but Chiefly from a Manuscript of the Great Mr. Boyle, printed for J. Peele, London (1731) 63.
37. Haynes, F., A Treatise on Portrait Painting from Life..., G. Rowney and Co., London (1887) 56.
38. Field, G., Rudiments of the Painter's Art; or a Grammar of Colouring, Applicable to Operative Painting, Decorative Architecture, and The Arts...1, John Weale, London (1850) 128.
39. Anon., An Additional Act for the Better Improvement and Advancing the Receipts of the Excise and New-Impost. At the Parliament Begun at Westminster the 17 Day of September. An. Dom. 1657, printed by Henry Hills and John Field, Printers to His Highness, London (1657) 24, 28, 32, 39.
40. Pomet, P., Der aufrichtige Materialist und Specereij-Händler... (etc.), Originalausgabe Leipzig: Gleditsch & Weidmanns, 1717, translated from the 2nd French edn, Paris 1694, [facsimile edn, VCH Weinheim (1987)] 363, 365, 367, 371, 387, 393, 395, 403.
41. Customs Ledger CUST 3/49, Public Records Office, London (1749).
42. Customs Ledger CUST 3/50, Public Records Office, London (1750).
43. Wissett, R., Selection of Papers Exhibiting a View of the East India Company's Commercial Concerns, British Library H/MISC/449 (n.d.) 125-131.
44. Graves, R., A Pocket Conspectus of the New London and Edinburgh Pharmacopoeias, 2nd edn, printed for J. Murray and S. Highley, London (1799) 6, 10, 38, 44, 52, 70, 72.
45. Customs Ledger CUST 4/45, Public Records Office, London (1850).
46. Oxford English Dictionary, ed. J.A. Simpson and E.S.C. Weiner, 2nd edn, Clarendon Press, Oxford (1989) 352.
47. Twilley, J.W., 'The analysis of exudate plant gums in their artistic applications: an interim report', in Archaeological Chemistry III, ACS Advances in Chemistry Series No. 205, American Chemical Society, Washington DC (1984) 368.
48. Lister, R., Infernal Methods; A Study of William Blake's Art Techniques, G. Bell and Sons Ltd, London (1971) 38-39.
49. Goodwin, M., Artists and Colourmen, printed for Reeves on the occasion of their 200th anniversary, Partridge and Love, Bristol (1966).
50. Townsend, J., 'The materials of J.M.W. Turner: pigments', Studies in Conservation 38 (1992) 231-254.
51. Townsend, J.H., 'The analysis of watercolour materials, in particular Turner's watercolours at the Tate Gallery (1790s to 1840s)', in The Broad Spectrum: Studies in the Materials, Techniques and Conservation of Colour on Paper, H.K. Stratis and B. Salvesen (eds), Archetype Publications, London (2001) 83-88.
52. Whitely, W.T., The Connoisseur LXXXXVIII (1931) 198.
53. Richardin, P., Bonnassies-Termes, S., and Dore, J.-C., 'Characterization of vegetable gums used as binding media in inks by gas chromatography and multivariable analysis'. in Microanalysis of Parchment, ed. R. Larsen, Archetype Publications, London (2002) 78.
54. Mills, J.S., and White, R., The Organic Chemistry of Museum Objects , 2nd edn, Butterworths, London (1994).
55. Percival. E.G.V., Structural Carbohydrate Chemistry, Frederick Muller Ltd, London (1950) 174-176.