Gainsborough Products Catalog INTRODUCTORY KITS Gainsborough Products, LLC offers four Introductory Kits at a discount of 10% to aid you in your initial order. Each kit is designed around a specific group of processes involved in the restoration of oil paintings and should be chosen on the basis of your involvement or desired involvement in this field. (If you have previously purchased the B-5000 Restoration Manual, our Introductory Kits are available without the manual.) Freight & Handling are an additional charge when ordering any of the Introductory Kits. Our Introductory Kits include a pair of Multi-Use Disposable Chloroprene-Nitrile Gloves. Please specify glove size when ordering: small, medium, large, extra large, or extra-extra large.

Jul 13, 2013. In a painting, cracks are the most obvious sign of aging. They are noticeable in all old paintings and, to some extent, they cause a change in their appearance. The fine pattern formed on the surface of the paint layer is called crackle or craquelure. This pattern is usually very homogeneous giving the.

INTRODUCTORY CLEANING KIT #1: B-5000 Restoration Manual $32.00 INTRODUCTORY CLEANING KIT #1. KIT-2 PC-11 Neutralizer - 16 fl. oz.

19.00 PC-27 Emulsion Cleaner - 8 fl. oz. 15.00 KK-1 Kotton Klenser™ - 16 fl. oz. 9.95 PC-123 Varnish Remover - 16 fl. oz. 22.00 PC-127 Varnish Softener - 16 fl. oz. 22.00 PC-151 Mastic Varnish Remover - 16 fl. oz. 22.00 PC-211 Linoxyn Remover - 8 fl. oz. 24.00 PC-1030 Damar Gloss Varnish - 8 fl. oz.

23.00 M-4027 Swabs, Cotton Tip - 1 pkg. 3.00 S, M, L, XL, or XXL Gloves, Multi-Use Disposable Chloroprene-Nitrile, 1 pair 1.25 Total $193.20 Special Price $173.88 INTRODUCTORY START-UP KIT #4: B-5000 Restoration Manual $32.00 INTRODUCTORY START UP KIT #4. KIT-4 PC-11 Neutralizer - 16 fl. oz. 19.00 PC-27 Emulsion Cleaner - 8 fl. oz. 15.00 KK-1 Kotton Klenser™ - 16 fl. oz. 9.95 PC-123 Varnish Remover - 16 fl. oz.

22.00 PC-1030 Damar Gloss Varnish - 8 fl. oz. 23.00 M-4027 Swabs, Cotton Tip - 1 pkg. 3.00 S, M, L, XL, or XXL Gloves, Multi-Use Disposable Chloroprene-Nitrile, 1 pair 1.25 Total $125.20 Special Price $112.68 INTRODUCTORY CLEANING / VARNISH REMOVAL / LINING KIT #6: B-5000 Restoration Manual $32.00 INTRODUCTORY CLEANING / VARNISH REMOVAL / LINING KIT #6. KIT-6 PC-11 Neutralizer - 16 fl. oz. 19.00 PC-27 Emulsion Cleaner - 8 fl. oz.

15.00 KK-1 Kotton Klenser™ - 16 fl. oz. 9.95 PC-89 Lining Compound Remover - 16 fl. oz. 22.00 PC-123 Varnish Remover - 16 fl. oz. 22.00 PC-1111 Picture Repair Putty - 2 fl. oz. 10.00 PC-1030 Damar Gloss Varnish - 8 fl. oz. 23.00 PC-1035 Lining Compound - 2 pounds 48.00 M-4011-72 Cotton Canvas, Lining, 72' - 1 yard 17.00 M-4027 Swabs, Cotton Tip - 1 pkg. 3.00 S, M, L, XL, or XXL Gloves, Multi-Use Disposable Chloroprene-Nitrile, 1 pair 1.25 Total $222.20 Special Price $199.98 RESTORATION MANUAL CATALOG # QTY.

PRICE ($U.S.) ITEM B-5000 each $32.00 GAINSBOROUGH COMPLETE MANUAL OF OIL PAINTING RESTORATION. B-5000 An instruction manual necessary for the use of Gainsborough's products. This is a 'how to' text explaining the use of Gainsborough's products in the restoration of oil paintings.

It includes procedures for cleaning, varnish and linoxyn removal, conditioning, canvas patching and lining, consolidating loose paint, facing, filling-in repaired tears, inpainting, and varnishing of oil paintings. There are also chapters on the use of ultraviolet light for inspection of paintings, cleaning of graphics and watercolors, building a thymol cabinet, frame glazing, technical tips and more.

The illustrations throughout show techniques and procedures to be used as well as 'before' and 'after' views of paintings. (The information given in this text is not enough to qualify the reader as a professional restorer.). BLANCHING REMOVAL SOLVENT VAPOR METHOD Refer to Gainsborough's Restoration Manual for instructions on building a blanching removal vapor system. For removal of blush (blanching), seen on newly cleaned paintings. Often a result of previous restoration.

PC-1020 8 fl. oz. 23.00 CONDITIONER For reconditioning dried and brittle canvas on old oil paintings. Do not line or patch painting for two weeks after use to ensure good adhesion. Do not use on newly inpainted or varnished paintings. Use PC-11 Neutralizer to remove any excess Conditioner. PC-1032 Use on an oil painting before inpainting so the true colors of the pigments can be seen for color matching. Apply with a soft cotton cloth.

FV-1 8 fl. oz. 23.00 GLOSS FINISHING VARNISH A synthetic gloss varnish for oil paintings. Apply with a 2' high quality varnish brush or an airbrush. MV-1 8 fl. oz. 23.00 MATTE VARNISH A synthetic matte varnish for oil paintings. Apply with a 2' high quality varnish brush or an airbrush.

SGV-1 8 fl. oz. 23.00 SEMI-GLOSS VARNISH A synthetic semi-gloss varnish for oil paintings. Apply with a 2' high quality varnish brush or an airbrush. PC-1034 1 lb. 25.00 FACING COMPOUND. PC-1035 (Pre-mixed wax-resin/iron-on type) Finest quality wax/resin adhesive used in the traditional method of lining (adhering) an old oil painting to a new canvas. Reversible by using heat.

Suggested for lining when painting is flaking and shows bare canvas, has cracks that will soon lose paint, has multiple holes or tears, and/or has weak original canvas which needs a new support. Also used for adhering a linen patch to repair a torn canvas. Must be melted slowly at low heat (approx. 200°F/warm setting) in an electric frying or melting pot. (Approximately 0.04 oz. Of Lining Compound needed per square inch with M-4000 canvas. One pound covers an area of approximately 20' x 20'.).

Convenient Hand Protection These disposable single-use chloroprene gloves provide short-term hand protection and good tactile sensation when restoring oil paintings. Powder-free, latex-free, close-fitting, ambidextrous, textured fingers, beaded cuff, green color, 5.1 mil.

For even greater protection, purchase our Multi-Use Disposable Chloroprene-Nitrile Gloves. Tough Hand Protection The best we've found! These multi-use, disposable chloroprene-nitrile gloves provide good hand, wrist and forearm protection with good tactile sensation when restoring oil paintings. Thin medium duty, powder-free, latex-free, close-fitting, ambidextrous, textured fingers, extended beaded cuff, green exterior, blue interior, 7.8 mil. BEVA® PRODUCTS Gainsborough offers BEVA® products for customers who require additional methods for special restoration situations.

Some of the BEVA® products require additional shipping fees and/or are drop-shipped from the manufacturer. CATALOG # QTY. PRICE ($U.S.) ITEM BV-371-SOL-Q quart 42.00 BEVA® 371b SOLUTION, quart BV-371-SOL-G gallon 88.00 BEVA® 371b SOLUTION, gallon A non-aqueous aldehyde ketone resin adhesive for use in painting, textile and paper conservation. Use in oil painting conservation for facing, repair of minor flakes and blisters, and lining.

Use with BV-MYLAR75 silicone coated Mylar film above and below all work to prevent sticking. Dilute with solvent.

Use in a well ventilated area. Heat activated. BV-371-FLM-Y yard 27.00 BEVA® 371b FILM, 2.5 mil, 27' x 1 yard BV-371-FLM-27R roll 115.00 BEVA® 371b FILM, 2.5 mil, 27' x 20 ft. Roll BV-371-FLM-54R roll 230.00 BEVA® 371b FILM, 2.5 mil, 54' x 20 ft.

Roll BV-371-FLM-0.5R 1/2' roll 16.50 BEVA® 371b FILM, 2.5 mil, 0.5' x 39 yd. Roll BEVA® 371b Solution in Film form sandwiched between two silicone coated release sheets.

Useful for transparent lining or strip lining of paintings, and for textile and paper conservation. Can be used for patching or lining where consolidation of the paint is not required. Can be cut and inserted into loose areas of paint. Heat activated. BV-TEX-Y yard 27.00 BEVA® Tex Adhesive Polyester Fabric, 27' x 1 yd.

A non-woven adhesive polyester fabric, coated on one side with 0.5 mil BEVA® 371 adhesive. Designed for conservation of paintings, paper and fabric. Heat activated.

BV-GEL-Q quart 25.00 BEVA® GEL, quart BV-GEL-G gallon 82.00 BEVA® GEL, gallon An aqueous dispersion of acrylic and EVA resins producing a strong contact adhesive, requiring light pressure for adhesion. Because of its thick consistency it is useful for vertical applications, as when consolidating loose areas on murals. Useful in lining very large paintings, where the use of heat activated adhesives is not an option.

No aqueous adhesive should be applied directly to the reverse of any canvas painting - apply BEVA® 371b Solution as an isolating coat. BV-MYLAR75-27x63 each 18.00 MYLAR FILM (0.75 mil), SILICONE COATED ON ONE SIDE 27' x 63' For use with BEVA® 371b Solution. Can also be used as a transparent membrane on your vacuum hot table, and as a protective coating on slightly sticky surfaces during transportation. One sided coating allows joining with masking tape on the uncoated side. BV-MYLAR75-R roll 240.00 MYLAR FILM (0.75 mil), SILICONE COATED ON ONE SIDE 63' x 50 yd roll. For use with BEVA® 371b Solution.

Can also be used as a transparent membrane on your vacuum hot table, and as a protective coating on slightly sticky surfaces during transportation. One sided coating allows joining with masking tape on the uncoated side. WSFP-40 1 ft. 2.50 WET STRENGTH FACING PAPER, 40', FOLDED A facing paper used with BEVA® 371b Solution for temporary reinforcement of the face of a flaking painting. This facing paper maintains its strength when wet and becomes translucent when wet.

(Not acid-free.) BV-FV-UV-Q quart 36.00 UV STABLE FINISHING VARNISH (GLOSS), quart An ultraviolet-stable, gloss finish, colorless and reversible synthetic varnish made from Regalrez hydrocarbon resin. Supplied with UV stabilizing drops to be added at time of use. Can be mixed with BV-MV-UV-Q, UV Stable Matte Varnish to provide a semi-gloss finish. Apply with a 2-inch high quality varnish brush or with an airbrush.

BV-MV-UV-Q quart 36.00 UV STABLE MATTE VARNISH, quart An ultraviolet-stable, matte finish, colorless and reversible synthetic varnish made from Regalrez hydrocarbon resin. Supplied with UV stabilizing drops to be added at time of use.

Can be mixed with BV-FV-UV-Q, UV Stable Finishing Varnish to provide a semi-gloss finish. Apply with a 2-inch high quality varnish brush or with an airbrush. ULTRAVIOLET LAMP PRODUCTS In a darkened room, longwave UV lamps reveal alterations to oil paintings, such as overpainting, repairs and false signatures that are normally invisible in daylight. Anyone who is collecting or restoring fine art, furniture, clocks, books, bronzes, ivory, porcelain, china, decoys, etc., should first examine the work to see what may have been done previously. Informed decisions can then be made regarding any purchase or restoration. When framing paper-borne art it is wise to check for active fungi, which can cause foxing (small dark spots) on the paper art.

No dealer, collector, or restorer in art or artifacts should be without this valuable aid. See our for more information. CATALOG # QTY.

PRICE ($U.S.) ITEM UVL-56 each $180.00 6 WATT HAND HELD 365 nm UV LAMP. UVL-56 The UVL-56 offers unsurpassed performance for daily use. This 6-watt UV lamp delivers a strong ultraviolet radiance at 365 nanometers, enabling detection of even the smallest traces of overpainting. The UVL-56 delivers an ultraviolet beam virtually free of visible light due to its unique quartz filter. The wide flood pattern makes it easy to see subtle changes over the whole area of the painting. This hand-held model can be run safely off any 115 volt, 60 Hz. Power outlet.

• One 6-watt bulb. • Quartz filter covering bulb.

• 365 nm longwave UV light. • Easy to grip handle. Solid, comfortable hold. • Convenient thumb operation of on/off switch. • Cycolac unbreakable housing. • Easy, safe operation. • Light weight: 2 lb.

• Size: 14.9L x 3.2W x 2.5H in. • Replacement bulb and filter are available. UVL-5P each 59.00 365/390 nm UV LED LAMP W/FLASHLIGHT, CR123A BATTERY OPERATED. UVL-5P This pocket-sized battery powered light emitting diode (LED) UV lamp offers 365 nm longwave ultraviolet light combined with 390 nm ultraviolet light for strong UV spot illumination in a portable flashlight format.

This unit features a built-in flashlight for alternation between visible and UV illumination while working in dimly lit areas. • Three 365 nm UV LED bulbs + three 390 nm UV LED bulbs for accurate and strong output. One high/low white LED. • Built-in flashlight.

• Pushbutton tail switch. • Anodized aluminum case. • O-ring sealed, water resistant. • Wrist strap included. • Requires two CR123A lithium batteries (included).

• Portable, light weight: less than 6 oz. With batteries.

• Size: 5.5 in. Length x 1.25 in. UVL-4P each $39.00 365-400 nm UV LED LAMP, CR123A BATTERY OPERATED. UVL-4P This pocket-sized battery powered light emitting diode (LED) UV lamp offers 365-400 nm longwave ultraviolet light for strong UV flood illumination.

This unit does not include a white light flashlight feature. • Five high powered 365-400 nm UV LED bulbs for strong long-wave UV light output. • Convenient push-button activation. • High and low power modes. • Durable, water-resistant and impact-resistant. • Precision machined aluminum case with stainless steel head. • Requires two CR123A lithium batteries (included).

• Portable, light weight: less than 4 oz. With batteries. • Size: 4 7/8 in. Length x 7/8 in. UVL-33P each $49.00 3 WATT 365 nm UV LED LAMP, AA BATTERY OPERATED. UVL-33P This pocket-sized battery powered light emitting diode (LED) UV lamp offers three watts of pure 365 nm longwave ultraviolet light for strong UV illumination. This unit does not include a white light flashlight feature.

• 365 nm longwave UV light for accurate and strong output. • Convenient push-button activation. • Durable, waterproof aircraft-grade aluminum case. • Tempered optical lens • Wrist strap included. • Requires one or two AA batteries (not included). AA Lithium cells recommended.

• Portable, light weight: less than 4 oz. With two batteries; 2.5 oz with one battery. • Size: 6 in. In single-battery configuration) RB-UVL-56 each 18.50 REPLACEMENT BULB, UVL-56 UVL-56 uses one bulb. UV BLOCKING EYEWEAR UV Blocking eye protection is recommended for anyone working with ultraviolet sources, and essential when using shortwave (254 nm) ultraviolet lamps to prevent burning to unprotected eyes and skin. UV Blocking eyewear also minimizes 'blue haze' interference associated with longwave ultraviolet.

CATALOG # QTY. PRICE ($U.S.) ITEM UVC-303 each 20.50 SPECTACLES, UV BLOCKING EYEWEAR.

UVC-503 Protects the eyes from harmful UV. Constructed of specially-formulated plastic for optimum viewing contrast and lessened eye fatigue. Goggles feature a lightweight design and flexible rubber trim, which fit comfortably over prescription glasses.

Air vents allow air flow while blocking ultraviolet transmission. VOLUME DISCOUNTS ITEM DESCRIPTION QUANTITY DISCOUNT PC-27 Emulsion Cleaner, 8 fl. oz. 4 containers 10% off PC-27 Emulsion Cleaner, 8 fl. oz. 8 containers 15% off PC-34 Super Emulsion Cleaner, 8 fl. oz.

4 containers 10% off PC-34 Super Emulsion Cleaner, 8 fl. oz. 8 containers 15% off PC-1035 Lining Compound 10 lbs. 10% off PC-1035 Lining Compound 20 lbs.

15% off Identical 8 fl. oz. Product 6 containers 5% off Identical 8 fl. oz. Product 9 containers 10% off Identical 16 fl. oz. Product 6 containers 5% off Identical 16 fl. oz. Product 9 containers 10% off Identical 16 fl. oz.

Product 24 containers 15% off Linen or Cotton Canvas 5 yards 5% off Linen or Cotton Canvas 10 yards 10% off Linen or Cotton Canvas 20 yards 15% off M-4025 Surgical Replacement Blade 10 blades 10% off M-4025 Surgical Replacement Blade 20 blades 15% off M-4027 Swabs, Cotton Tip, Package of 100 10 packages 10% off M-4027 Swabs, Cotton Tip, Package of 100 20 packages 15% off M-4003 Cotton Roll, 1 lb. 10 rolls 10% off PATENTS AND USE Please note that the listing of a compound herein does not constitute a license for, nor is it intended as a recommendation for the use of it in infringement of any patent. All of our products are sold for conservation purposes.

No products sold by us are intended or suitable for use as drugs, food additives or as household chemicals. HAZARDS The burden of safe use of Gainsborough Products, LLC materials rests entirely with the user. Please refer to the safety data sheets for hazard warnings. Jcp Reward Code Serial Number October 2013.

Ingestion or contact with skin may be harmful. Some of our products contain petroleum distillates, and the use of our products requires adequate ventilation. Be sure to throw all of your used rags and swabs in a metal container with a lid to reduce the possibility of fire.

The products in this catalog are for professional use only. They are to be kept out of reach of children. We cannot assume responsibility for the completeness or accuracy of any information supplied by us concerning the hazards or recommended use of the products. SAFETY DATA SHEETS Safety data sheets will be sent with your order. We keep track of which safety data sheets we have sent you in the past, and we do not send a duplicate.

If you wish to have safety data sheets for any of our products, please contact us and we will send them out in the mail. WARRANTY No warranties by seller (other than warranty of title as provided in the uniform commercial code) shall be implied or otherwise created under the uniform commercial code, including but not limited to warranty of merchantability and warranty of fitness for a particular purpose. LIABILITY Purchaser acknowledges that there are hazards associated with the use of these products. Purchaser agrees that its personnel concerned with our products are aware of the hazards and assumes all responsibility for the warning of its employees and independent contractors of all hazards to person and property in any way connected with our products, and purchaser agrees to instruct its employees, agents and customers to use safely such products. Purchaser also assumes all responsibility for the results of using our products in combination with other articles or substances and in any manufacturing process. Seller will not be liable for any incidental or consequential damages arising from non-willful failure to deliver products hereunder.

ORDERING INFORMATION MAILING ADDRESS AND TELEPHONE NUMBERS. (No walk-in service available.) Gainsborough Products, LLC 6680 Alhambra Ave. #249 Martinez CA 94553 Phone and Fax: 925-957-9277 USA Toll Free Phone: BUSINESS HOURS Our normal business hours are Monday through Friday, 9:00 a.m. Pacific Time. MAIL ORDERS When ordering by mail, specify quantity, catalog number, catalog item, your name, complete shipping address, and phone number. Please contact us for a quote on the total cost of your order if paying by postal money order or cashiers check. We do not accept personal checks.

The total cost of your order will include freight, handling and sales tax if applicable. Send order with method of payment to our address listed above. PHONE AND FAX ORDERS Please do not hesitate to call us to place an order or to ask questions.

Telephone orders can be placed during normal working hours, or you can place your order on our voice mail. Please remember time zone changes when telephoning orders long distance. For your convenience, we offer a printable in Adobe PDF format. When placing an order, specify quantity, catalog number, catalog item, your name, complete shipping address, phone number and method of payment.

E-MAIL AND INTERNET At this time we are not set up to take orders over the Internet. For your security, please do not enter your credit card information in an e-mail. However, you may request a free catalog or make other inquiries through our e-mail at and view our complete catalog on-line. METHODS OF PAYMENT CREDIT CARD We accept Visa, MasterCard, Discover and American Express. Credit card customers must indicate type of card, card number, expiration date, security code, billing address for your credit card, and your phone number, including area code. PRE-PAID BY CASHIER'S CHECK OR POSTAL MONEY ORDER Please contact us for a quote on the total cost of your order before mailing your payment.

The total cost of your order will include freight, handling and sales tax if applicable. Orders will be sent upon receipt of your postal money order or cashiers check. RETURNED CHECKS A $30.00 service charge will be assessed for all returned checks. SHIPPING, FREIGHT AND HANDLING Freight and handling charges are additional and will be charged. SHIPPING Service is of the utmost importance at Gainsborough Products, LLC. Orders are usually shipped within 24 to 48 hours of receipt, excluding weekends, holidays or vacations.

Back ordered items will be shipped as soon as possible. All orders are shipped UPS Ground, or in some instances United States Postal Service.

UPS ground service varies from 1 to 6 days depending on the destination. Keep in mind that we are located in California. UPS will not deliver to post office boxes; therefore, be sure to give us your street address. Some items can be shipped UPS 3 day, 2 day or next day air service upon request. FREIGHT CHARGES Freight charges are determined by weight and destination, and are based on UPS or USPS rate at the time of shipment. HANDLING FEES All orders are charged a $5.00 handling fee in addition to the freight charge Some shipments may require additional handling fees and/or additional freight charges.

INTERNATIONAL ORDERS. LION Picture Framing Supplies Ltd 148 Garrison St. Heartlands, Birminghham B9-4BN UK Phone: 0121 773 1230 FAX: 0121 771 2540 E-mail: Web: GENERAL INFORMATION PRICES Prices in this catalog are effective November 14, 2017. All prices remain subject to change or withdrawal without advance notice. Merchandise will be invoiced at prices prevailing at time of shipment. SALES TAX Orders shipped to California will be charged California sales tax; orders shipped to Contra Costa County, California will be charged Contra Costa County sales tax; orders shipped to Martinez, California will be charged Martinez sales tax unless the customer has a sales exempt certificate on file with Gainsborough Products, LLC.

BACK ORDERS We will attempt to notify you of any back ordered items before shipping your order. Back ordered items will be shipped as soon as possible.

DAMAGED OR MISSING MERCHANDISE We at Gainsborough Products, LLC do our utmost to see that our customers receive their complete order in good condition. However, if any merchandise is damaged or missing, please notify us as soon as the order is received and we will remedy the situation as quickly as possible. CANCELLATIONS Orders may be canceled without charge during business hours any time before they are packed for shipping. RETURNS No merchandise is to be returned without our prior approval. All returned merchandise must be in the same condition as it was received, and is subject to a 20% restocking fee plus shipping and handling unless the return is due to our error. All claims for returns or credit must be made to us within 10 days of the receipt of merchandise.

Contents • • • • • • • • • Craquelure in paint [ ] Normally, craquelure is formed by the aging of paints. It can be used to determine the age of paintings and to detect, because craquelure is a hard-to-forge signature of.

Authentic [ ] Authentic paint craquelure occurs because paint dries and becomes less flexible as it ages and shrinks. In the case of paintings on canvas, the canvas slackens as it ages as it cannot endure the long-term stress of stretching. Paint at the center of a painting is the least cracked, whereas paint at the edges is the most cracked, or stressed. The precise pattern of craquelure depends on where, when, and under what conditions the picture was painted, and subsequently kept.

Cracks caused by stretching or slackening the canvas are quite different from cracks due to other factors, such as drying and ageing of the paint. The paint cracks when the stress upon it is greater than the breaking stress point of the paint layer and the paint will crack approximately at right-angles to the direction of the stress, relieving that stress. The stress at the corners is more than double that of the center.

There are distinct so-called,, Flemish, English and 'styles' of craquelure, relating to differences in the typical techniques used (and the typical period when each country produced most of its art); however, these names simply refer to typical patterns, and an Italian painting might show a 'French' style of craquelure. The distinctness of these styles has been largely confirmed by studies [ ]. The English style arises from the use of in paint that was pioneered by Sir, and can be especially disastrous, leading to large blisters in the surface. Radiating circular patterns of cracks are a result of impact. One study used images to get subjects to classify paintings according to the following 'rules', with some success: Italian - usually perpendicular to the grain of the panel Flemish - usually ordered network Dutch - usually connected network French - usually curved cracks Italian - can have small to large islands The pattern of changes in humidity and temperature that a finished painting experiences affect the way craquelure develops, with sharp changes especially likely to create craquelure. Modern is especially likely to develop craquelure if it experiences low temperatures. The precise pattern depends on chemical characteristics of pigments used—from the finest light colors to the less perceptible dark, the painting style of the painter, and whether wood or canvas was used as a background.

It also furnishes a record of the environmental conditions the painting has experienced during its lifetime, such as temperature and humidity, and can also reveal details about the painting's history of handling, transportation, and. Induced [ ] can be created by a variety of techniques, and in paintings is often used by forgers of paintings, which would normally show some. Art forger developed a technique and discovered a way to use and a special baking process. Craquelure is almost impossible to accurately reproduce artificially in a particular pattern, although there are some methods such as baking or finishing of a painting by which this is attempted. These methods, however, generally achieve cracks that are uniform in appearance, while genuine craquelure has cracks with irregular patterns.

Craquelure in ceramics [ ]. Vase, with 'gold thread and iron wire' double crackle, dated by the to the Song Craquelure affecting the glaze in ceramics may develop with age, but has also been used as a deliberate decorative effect, which has a long history in and in particular. These deliberate glazing effects are usually known as 'crackle', with crackle[d] glaze or 'crackle porcelain' being common terms. It is typically distinguished from, which is accidental craquelure arising as a, although in some cases experts have difficulty in deciding whether milder effects are deliberate or not. Some may also only have developed with age. Leading Chinese wares of the and with deliberate crackle glazes are and; in the milder crackle may be accidental, though the majority of pieces have it. Ge ware can have a type of double crackle, known as 'gold thread and iron wire', where there are two patterns, one with wide and large crackle, the other with a finer network.

Each set of cracks has had the effect heightened by applying a coloured stain, in different colours. There are multiple layers of glaze, and the wider crackle develops first, with the finer one developing inside those sections. The crackle may take some time to appear after firing, and is probably mainly caused by rapid cooling, and perhaps low in the glaze. Modern techniques [ ].

Pair of Chinese crackled glaze jars with French mounts, both 18th century The modern decor industry has used the technique of craquelure to create various objects and materials such as glass, ceramics, iron. This was made possible by the use of marketing kits that react with the colors used in decorative acrylic colors. The extent of craquelure produced varies according to the percentage of reagent and time of use. To highlight the cracks, glitter powder—usually available in copper, bronze and gold—is used. Mixing different brands of ready-made products to mimic craquelure results in various sizes and patterns of cracks.

Software programs are available for creating craquelure in digital photos. Craquelure gives new objects such as ceramics and furniture an 'antique' look.

The effect is achieved by a chemical reaction that results in regular-looking craquelure. The regularity is given by the thickness of the product applied, which can be mixed with bitumen of Judea or oil paints. Flatting and cracking can be replaced by shellac and gum arabic.

See also [ ] • • Notes [ ]. 'Digital detectives reveal art forgeries'. Computing in Science & Engineering. • Craddock, Paul (2009).. Burlington, MA: Elsevier.

Retrieved 2010-10-17. • Karpowicz, A. 'In-Plane Deformations of Films of Size on Paintings in the Glass Transition Region'. Studies in Conservation.

34 (2): 67–74... Conservation Physics.

Retrieved 2010-10-17. Conservation Physics. Retrieved 2010-10-17. • ^ Bucklow, Spike L. 'The Description of Craquelure Patterns'. Studies in Conservation. International Institute for Conservation of Historic and Artistic Works.

42 (3): 129–140... • ^ Bucklow, Spike L. 'The Description and Classification of Craquelure'. Studies in Conservation. International Institute for Conservation of Historic and Artistic Works.

44 (4): 233–244... Conservation Physics. Retrieved 2010-10-17.

•, Spike Bucklow Studies in Conservation Vol. 4 (1999), pp. 233-244; • Bucklow, 518 • ^ Ward, 149 • Scott Hays, (July 2000). Retrieved June 19, 2011 • ^ Harris, Bronwyn..

Home Institute. Retrieved 2010-10-17. • Vainker, 101, 107-108 •, PDF.94 (expand two sets of comments); Krahl, Regina:, section 'Guan and Ge wares' in 'China, §VIII, 3: Ceramics: Historical development' •,, Wood, Nigel, Science and Civilisation in China: Volume 5, Chemistry and Chemical Technology, Part 12, Ceramic Technology, p.

266, 2004, Cambridge University Press,, 337, •. Digital Image.

Retrieved 2010-10-17. References [ ] • Bucklow, Spike, 'A Stylometric Analysis of Craquelure', Computers and the Humanities, Vol. 6 (1997/1998), pp. 503–521, Springer, • Vainker, S.J., Chinese Pottery and Porcelain, 1991, British Museum Press, 705 • Ward, Gerald W. Download Drivers Of Dell Inspiron 15 3000 Series here. R. (ed), Grove Encyclopedia Of Materials and Techniques in Art, 2008, Oxford University Press,, 918, External links [ ] Wikimedia Commons has media related to.

•, Research at the Hamilton Kerr Institute, University of Cambridge • 'The Description of Craquelure Patterns', by Spike Bucklow, Studies in Conservation, Vol. 3 (1997), pp. 129–140, Maney Publishing on behalf of the International Institute for Conservation of Historic and Artistic Works.