Today's postings

  1. [Baren 36828] Re: Oil-based inks and paper - technical question ("Amie Roman")
  2. [Baren 36829] Re: Oil-based inks and paper - technical question (Charles Morgan)
  3. [Baren 36830] Re: Oil-based inks and paper - technical question (carol Montgomery)
  4. [Baren 36831] Exchange 37 ("Louise Cass")
  5. [Baren 36832] Re: New Baren Digest (HTML) V44 #4520 (Sep 10, 2008) ("Nancy Osadchuk")
  6. [Baren 36833] Re: Exchange 37 (David Harrison)
  7. [Baren 36834] Exchange 37a ("Oscar Bearinger")
  8. [Baren 36835] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: "Amie Roman"
Date: Wed, 10 Sep 2008 16:28:08 GMT
Subject: [Baren 36828] Re: Oil-based inks and paper - technical question
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I asked the originator of the question, and he responded that he'd read
about untreated siccative oils in Ralph Mayers book. I think the answer is
that the oils used in printing inks are not raw oils, but have been treated
(e.g. burnt plate oil).

The discussion on conservation of work versus spontaneity of materials used
is interesting; I'm afraid I can't devote any thought processes to this now,
but I'm looking forward to reading it with more consideration soon.


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Message 2
From: Charles Morgan
Date: Wed, 10 Sep 2008 18:27:34 GMT
Subject: [Baren 36829] Re: Oil-based inks and paper - technical question
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Before I gave up antiquarianism, I owned a large collection of very old books. I had books on agriculture
from the late 1800s and early 1900s. I had beekeeping books from the late 1800s. These had copious illustrations,
as well as normal printed matter. I even had a set of the collected works of Francis Bacon that was published in
the 1700s. All of my books came from working scholars, libraries, etc. They were not the subject of conservation
efforts and were well used.

Without doubt the bindings of the Bacon volumes were deteriorating. But the printed material was just fine. There
was no sign of "rot" or any deterioration due to the inks. The pages were printed on both sides, and any such
deterioration would have been readily apparent.

As I am writing this, I have in my hand a book titled "Needlework As Art", by Lady M Alford, published in London
in 1886. It is a lovely work, "dedicated by permission to The Queen", as it says on the cover. According to a
handwritten inscription, it was given as a Xmas gift to the wife of Charles Hurduan (or Hurdman) in 1887. This
particular volume has never been the subject of conservation efforts. It sits on a bookshelf in my home. It is
some 422 pages long, with many illustrations. Some of the illustrations are photographic reproductions (as opposed
to being actual photographs), perhaps photogravure, and they have obvious plate marks. There is no sign of haloing,
and no sign of deterioration of the pages due to the inks. Certainly there is no "rot" of the sort being discussed.

The inks used by the printing industry in London in the 1700s and 1800s were certainly oil-based. Perhaps someone knows
of significant differences between the inks used to print the books to which I refer and the inks used by artists today.
It would be of interest to all of us to have such information.

I would suggest that if one selects the appropriate papers and appropriate inks, your prints will easily last twice your
lifetime or more, and perhaps we can be satisfied with that.

Cheers ........ Charles
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Message 3
From: carol Montgomery
Date: Wed, 10 Sep 2008 18:58:36 GMT
Subject: [Baren 36830] Re: Oil-based inks and paper - technical question
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I have a beautiful book that belonged to my husband's grandmother, printed in 1889, Wildflowers of the Rocky Mountains,
which contains chromolithographs. They are intact and quite lovely reproductions of original watercolors by the author,
Emma Homan Thayer. The whole book is in great condition except for creakiness in the binding. The cover is multicolor
and embossed with gold consisting of the title and wildflowers in a curvilinear, almost art nouveau design. I have
really appreciated this discussion concerning conservation and difference of various oil based inks. I have always
taken for granted the fact that fiber supports such as canvas or linen need gesso to protect from paint eating into
it with time. I suppose chromolithographs in the 1880's were stone prints and the inks used for them were adequate
for preservation to this era. My instinct has always been for the best quality inks for their color intensity - now
I find that they also have conservation enhancements.

Sincerely, Carol Montgomery, Helena, MT
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Message 4
From: "Louise Cass"
Date: Wed, 10 Sep 2008 20:20:16 GMT
Subject: [Baren 36831] Exchange 37
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Hurray! my prints arrived today and I am really enjoying them - I think it's
one of the best exchanges yet - thanks everyone!


(My work may be viewed at
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Message 5
From: "Nancy Osadchuk"
Date: Wed, 10 Sep 2008 20:32:45 GMT
Subject: [Baren 36832] Re: New Baren Digest (HTML) V44 #4520 (Sep 10, 2008)
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Again not woodcut but interesting...I have to dispute the "watercolors will
fade over time"... again it depends on the care and quality of the
substrate, and paints. I have an English watercolor dated 1894 which looks
just as bright as it must have been...a typical English cottage scene. I
inherited it from my mother who was given it by the artist. The artist was
trained in England and France..painted with Matisse...and she obviously used
good quality rag paper and quality paints. The piece has been in a good
light (not direct sunlight of course) but never in a dark location.

Nancy O
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Message 6
From: David Harrison
Date: Wed, 10 Sep 2008 20:36:13 GMT
Subject: [Baren 36833] Re: Exchange 37
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Amen to that -- mine arrived as well today and they're great. I can't pick a
favourite as there are too many to choose from!

David H
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Message 7
From: "Oscar Bearinger"
Date: Wed, 10 Sep 2008 20:47:17 GMT
Subject: [Baren 36834] Exchange 37a
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Thanks to everyone involved in a good exchange - blue skies and old vehicles in a journey theme.
Lovely accessible colophon as well, Maria! Wanda is honoured and blessed.

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Message 8
From: Blog Manager
Date: Thu, 11 Sep 2008 03:55:37 GMT
Subject: [Baren 36835] Baren Member blogs: Update Notification
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This is an automatic update message being sent to [Baren] by the forum blog software.

The following new entries were found on the listed printmaker's websites during the past 24 hours. (53 sites checked, five minutes before midnight Eastern time)


Site Name: David Bull, Woodblock Printmaker

Item: Nikkei BP story now online ... (in Japanese)


Site Name: mLee Fine Art

Author: Marissa L. Swinghammer
Item: Finding a home


[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:

For reference, sites/blogs currently being checked are: