It was required to paint a house that had been built twenty years, the exterior of which was veneered with brick and coated with lime plaster, making a mastic finish. It had been first washed with lime and water, then with lime and cement, neither of which gave satisfaction, because nearly all came off. To give advice it is necessary to know how solidly the plaster adheres and how heavy the coatin…
In Government work contractors are generally held down strictly to specifications, which fact should not be lost sight of.
Plaster casts may be coated in many ways ; small articles may be coated and polished by dipping them in melted paraffine wax, and then rubbed smooth. New casts may be successfully coated and at the same time hardened by applying several coats, with a soft brush, of a hot saturated solution of either borax or alum, or a hot solution of chloride of barium, followed by several coats of soap water, ma…
The specifications called for one coat of paint, then a layer of cork and a final coat of paint.
Dissolve white beeswax, which is finely sliced, in spirits of turpentine in the cold way, which requires about three days. The mass must have the consistency of soft soap. Now add three-quarter pound of this to two pounds of $nc white, ground in oil, and two tablespoonfuls of soft soap. This thick mass, to which is added a trifle japan, is applied with a large spatula to the canvas, so that all po…
A shop has been whitewashed, but the lime dusts off.
Considerable trouble was experienced because of paint peeling and blistering on the cypress framework of a hothouse. The wood was thoroughly seasoned, primed with best French ocher, thinned with good raw linseed oil and a little japan. The priming was allowed to stand a week and was then given two coats pure white lead in oil thinned with raw oil and a trifle of japan only. Cypress being close gra…
It has long since been determined by scientific researches that linseed or any other oil is not impervious to water : on the contrary, that they soak up water almost like a sponge, hence some other preparations are required to protect metal from rust in the presence of water. We should recommend that the cans be first thoroughly cleaned to remove all grease, etc., with soda water, then rinsed and …
Not knowing the composition of your white enamel, it is difficult for us to say what you should use to keep it in suspension. Enamel paints that are well made, as a rule, do not require frequent stirring and do not tend to settle to any extent in the can or other package. The rapid settling may be due to the use of one or more pigments of heavy specific gravity, such as white lead and barytes or l…
We do not know of any paper hangers' paste that can be made up of any cheap substance that will thicken or body up the paste and yet and keep from souring for several months, nor do we know allow it to retain its adhesive qualities. The following formula is the best we know of and will keep for a long time ; how long depends on the care with which it is made and where stored. If mold forms on top,…
In a parlor, the side walls of which are to be papered in white and gold relief and the brick breast brought up in white enamel, the ceiling is beamed the length of the room and paneled between, the side beams being lower than those in the middle of the ceiling. From this description it would appear that the architect has intended to carry the cove moulding at the bottom of side beams round the en…
Advice is asked as to the best way of papering a double store; the front part to serve as a salesroom, the rear part as a display and stock room. No, we would not advise you to paper both sides alike, especially as you state that they are connected only by a small door, having a wall between them. We would suggest that you have the front part or salesroom papered in light tints, both for walls and…
The ordinary paper hangers' paste made by stirring rye flour or wheat flour into cold water until all lumps are beaten out and then bringing it to a boil under constant agitation will do very well for pressed papers, but must be heavy, so that it will not make the paper too moist or limp before it is on the wall, as that would spoil the relict figures.
Take two pounds of flour, mix with enough lukewarm water to the consistency of thick cream, add one ounce of powdered crystal alum, a pinch, say one-quarter ounce, of pulverized rosin and one-half ounce white sugar of lead, also powdered.
As to the history of water color painting it is said that the ancient Egyptians used this method in their wall paintings. They covered the walls with stucco, traced the outlines in deep red, used a ground of white and colored the various parts. The technics of the wall paintings in the catacombs point to a similar method. The term "aquarelle" was applied to transparent water color paintings, while…
The question was asked whether pine oil mixed with fireproof mineral would make a good paint for roofs. When you mention pine oil we are not certain whether you mean liquid pine tar or rosin oil. For shingle roofs either of these can be used for thinning metallic paste paints that are ground in linseed oil, but the use of rosin oil in any great portion will not give good wear, because when paint m…
We know of only one method to polish piano cases, and that is to. rub fine the finishing coat of varnish with rotten stone and water, using the palms of the hands in the operation, which removes all scratches and leaves a bright polish, which is completely finished by rubbing with oil.
The following is highly recommended as a first-class cleaner of brass, copper, nickel, etc.: Pulverize one part by weight of oxalic acid, 15 parts peroxide of iron, and 20 parts rotten stone; mix and sift to remove any and all grit ; then rub this with 6o parts palm oil and 4 parts vaseline to a smooth paste.
The following has been suggested by the Pharmaceutical Era: Mix together one pound each of rye flour and wheat flour into a dough, which is partly baked and the crust removed. To this add by kneading one ounce of common salt and one-half ounce of powdered naphtalin and then one ounce of cornmeal and one-eighth ounce of finest burnt umber. This composition is formed into a mass of proper size to be…
We will give a few hints for the treatment of damp walls, obtained from reliable sources. Make a glue size by dissolving one pound of good white, sheet glue in one gallon of soft water, soaking the glue first in cold water and then boiling it in a water bath. Keep this glue size in hot water, stir in enough red lead to make a stout, but workable paint, and apply while hot. When the dampness comes …
An article was wanted that would flat varnish so it will not scratch and that paint applied over it will not peel.
We presume that you have in view a black varnish for leather that dries quickly and with good body and gloss. If that is the case, we can give you two formulas, from which you may select, as follows: - No. x. 4 lbs. Dry D. C. Shellac, 2 lbs. Gum Thus or Crude Turpentine, 5 lbs. Manila Gum. I lb. Aniline Black. No. 2. 4 lbs. Dry D. C. Shellac, 4 lbs. Crude Turpentine, 4 lbs. Rosin, 3-8 lb. Aniline …
Two. ounces borax are dissolved 'in one gill of boiling hot water, and while this is kept boiling, one ounce calcined potash is added; this solution is then stirred into a boiling solution of one pound animal glue and one quart of water.
We do not know of any prepared paste for paper hanging that we should care to recommend, but in the following you will find something that is portable, and will serve the purpose very well. Place one quart of water, as hot as the hands will bear, into a pail and add a tablespoonful of pulverized alum. Have best wheat flour sifted and put into the water, stirring it with the hand and work it as you…
We wct'ld say that the ceiling should have one thin coat of shellac varnish, and that white shellac is best, if the ceiling is to be painted white or in a light tint.
Dissolve one pound white sheet glue in hot water, after it has been soaked in cold water. Make a saturated solution of alum in water, then mix 25 pounds of bolted English cliffstone parts white in water to a stout paste and add to this the alum solution, then add the liquid glue and test the mixture for its binding properties, and if it does not bind well add more glue and let it stand to cool. If…
When painted walls are to be papered they should first be well cleansed with suds made from white Castile soap and warm water, such suds to be applied with a wall brush, scrubbing lightly, and then sponged with clear water, using a large sponge, and dried with chamois skin. The next important point in papering painted or varnished walls is the preparation of the paste, which must differ from that …
To make flake white flow freely from' the striping pencil, mix a few drops of a good, pale rubbing varnish with your flake white as it comes from the tube or can, and should it be very stiff, thin with a few drops of turps before adding the varnish.
Any bronze stripe, letter, etc., may be kept from tarnishing by coating it over with a thin coat of white shellac varnish, before it is coated with finishing varnish.
There have been various methods suggested lately, but they are too complicated, and if the coal tar is well absorbed into the wood in that case, we should say that a liberal coat of orange or brown shellac varnish would isolate the coal tar effectually.
An inquirer desired to know how to prevent ingrain paper from drying out spotted? Nearly all shades go the same way, although plain flour paste, without alum, was used, and the walls were in good condition. Not having seen the paper, we cannot say whether it is faulty or not, and while you say that the walls were in good condition, you do not mention having used paperhangers' size. Before hanging …
Six months after some brick walls had been painted, in places the paint had peeled off so that there was not a particle remaining. A month later the walls were repainted with the same result. This was probably due to moisture in the wall. There is no known remedy to prevent even the very best paint from peeling off from damp brickwork, and the conditions of the surface should be examined before be…
It is required to paint a brick house that is fifty years old, the walls of which have never been painted or coated in any way: In a brick wall of the age you mention there is no danger from caustic properties in the mortar .used in the joints, unless the wall has been recently pointed. First give the wall a good brushing with a stiff corn broom to clean it from dust or loose sand, and before prim…
We do not consider yellow ocher the best material for priming new woodwork, because even the best and finest French yellow ocher is at best a brittle pigment. When the priming may stand several weeks or months before second coating, we consider a mixture of equal parts of white lead and finely ground yellow ocher, thinned with pure raw linseed oil only, an excellent priming, when applied thin and …
The questioner had painted a house with a standard brand of white lead and linseed oil made by a well known crusher. In June, ten years later, he started to repaint, using the same brand of white lead, also the colors and oil made by this firm, taking four days to apply the first coat and allowing two weeks before the second, or finishing coat was begun, requiring eleven days to complete the job. …
Some letters were painted on the inside of a glass door, the entrance to a telephone stock and construction room, in which soft coal is burned in a furnace, and in which room the chemicals used in batteries emit vapors. When the letters, which were painted with white lead, oil, turps and a little japan, were finished, they were firm and clean cut, but after being on a week they appeared wasted and…
While various processes, such as etching with fluoric and French adid and chipping by hand have been employed, the sand blast is now very extensively used for glass chipping and with far better success than is had by other methods, because it limits the area of the chipping and makes the edge of the chipped work sharp and definite in the outlines.
The work is done best by means of the sand blast, which up to within a few years has been operated by air pressure, but in recent years a patented device throws the sand against the glass by a jet of steam, doing much cleaner work than the blast worked with fans, blowers or air compressers. In this device the stencils are made from toughened paper, rubber or metal, and are fastened to the glass wi…
Proceed for the priming and subsequent coat or coats same as for an oil color finish, thin for thin coat, with equal parts of oil and turps, adding enough beeswax, that has been dissolved in turpentine, to give a dead sort of gloss.
The opinions of experts vary in this respect, but as the variation of the proportions by those of longest experience and highest reputation among the fraternity are limited between 75 per cent. white lead and 25 per cent. zinc white and 85 per cent. white lead and 15 per cent. zinc white, we may say that a safe proportion in localities named by you would be 8o per cent. pure white lead in oil and …
In the following we shall give the average percentage of oil in one hundred pounds of paste, because no strict rule can be laid down, the percentage of oil required depending on the condition of some of the pigments and fineness of grinding: White lead, pure, eight or nine per cent. Red lead, pure, twelve per cent. Sublimed white lead, ten per cent. Zinc white, French, sixteen per cent. Zinc white…
Pure linseed oil and whiting patty, mixed with some dry white lead and a little japan, thoroughly kneaded, is the best material.
An excellent putty for floors consists of a thorough mixture of paper, preferably blotting paper, which has been soaked in boiling hot water until pulp is formed, which is then mixed with glue, also dissolved in water.
Take equal parts in bulk of zinc dust, or in lieu thereof zinc oxide and fine Paris white, and mix the same to a stout, plastic mass with a solution of 33 degrees Be water glass.
The process referred to is termed pyrography, and the work itself pyrographing.
In the following we give the average quantity in pounds of oil required, when the materials named are bone dry and in finely powdered state : Materials.
A formula for a preparation that will effectually protect silver and similar metal from tarnishing is given by Richard Hale in an exchange, as follows: Soluble guncotton, one-eighth Troy ounce, five ounces amyl-acetate, two ounces petroleum spirit, one ounce wood naphtha, placed in a small glass bottle or jar until guncotton is dissolved and filtered.
The owner of a dwelling house insisted on having a light pink for the body. The painter used a combination of three parts white lead, one part American zinc, raw linseed oil of best quality, and a little good liquid drier, using American vermilion for coloring matter, but as this made too strong a pink to suit the owner, it was toned down with chrome yellow. While the paint was wet the color satis…
We see no objection to using raw linseed oil in place of boiled oiI in wagon work ; on the contrary, we think the wearing quality of the paint will be increased by the use of pure, well settled raw linseed oil, when we consider that the boiling of oil with driers changes the medium into a varnish that no longer has the qualities of the crude article, and also in view of the fact that much of the commercial boiled oil is nothing more than raw oil doctored up with cheap driers, and has never been near a fire.
Two parts French yellow ocher and one part medium Venetian red by weight will make a good terra cotta color, while five parts of white lead,,mixed with one part of burnt Italian sienna, will produce a strong terra cotta tint.
Stale beer has not sufficient binder to make the paint or wash stand water, and a wash made with it would be worthless.
The group of reds represents quite a variety of types. American vermilion is a chrome red, and though the least brilliant, it is, outside of a few products that have been developed only recently, the most durable of the vermilion group. When pure, it consists of lead chromate and white lead intimately combined, and a test of purity should be left to chemical science; the painter may ascertain its …
Clean all the old black out of the letters carefully, then heat the plate and melt black sealing wax into the letter spaces.
We do not know of any process that will bleach linseed oil white unless by a very slow method, which takes too long to admit of using it in manufacturing on a large scale. This is bleaching by sunlight, and is all right for the purposes of the artist or small painter. The bleaching process by the use of chlorines is not a safe one, as the bleached oil cannot be freed entirely from the chemical. ? …
We should say that the best way to proceed is to thoroughly remove the varnish by means of strong aqua ammonia, to which a little turpentine is added, say one part turps to two or three parts ammonia. This addition of turpentine will prevent raising the grain of the wood and darkening it. When the varnish has been removed in this manner, the surface should be washed down with clear turpentine or b…
Take off doors and sash and lay them horizontally on trusses, give them a coat of wood alcohol, which will soften the varnish still remaining. Now take sharp steel scrapers to remove the softened material and repeat the operation until you get close to the wood. Now take a solution of oxalic acid, say one-half pound oxalic acid to one pint of water (which, however, will not dissolve all the oxalic…
If possible, take the doors off the hinges and lay them down flat on some trusses or old boxes, and remove the old varnish with ammonia or a mixture of two parts strong ammonia and one part of turpentine and benzine, using a stubby brush to get into the cutwork and about mouldings. When all the old varnish has been removed, dope over the stained portions with a strong oxalic acid solution, and see…
To make a good job of such work will put you to more trouble and expense than the box is worth, as you will see by the following: First, you will have to remove all of the old japanning, then make a japan flow as follows: One pound gum sandarac, two ounces each of balsam of fir, balsam of tolu and sugar of lead and one-half pint linseed oil are placed in a suitable kettle over a slow fire at first…
To remove a cloudy and uneven effect on old furniture that has been cleaned off, stained and varnished, take powdered pumice and water, and with a piece of felt rub down the varnish until it becomes dead flat, then rinse with sponge and clear water and dry with chamois skin.
A better method than burning off was wanted for removing paint that had cracked so badly as to show an alligator skin, and in some places inclined to peel and even curl. The house had been painted with two coats of pure lead and linseed oil, but was then in bad condition, having been painted four or five times before with not less than 5o per cent. of zinc oxide in the paint. You cannot make a las…
If the spots are fresh, rub over them with a piece of cloth that has been dipped into pulverized china clay, repeating the operation several times, and then brush with soap and water.
Pour strong soda dissolved in water, while boiling hot, on the spot or spots, mix some fuller's earth in boiling water to a thin paste, put a coat of this over the spots and let it remain over night.
To remove grease spots from stone steps or stone floors, pour strong soda water or boiling hot water over the spot, then lay on a thin batter made of Fuller's earth and boiling water ; let it remain on over night, and if the grease be not removed repeat ?the process.
Calcined magnesia or carbonate of magnesia is mixed into paste form with soft water and applied to the spots with a soft brush.
A building papered in the fall and unoccupied during the winter showed mold on the wall paper in the first story, after it had been occupied in the spring.
Try a mixture of two parts of aqua ammonia of. i8 deg. and one part spirits of turpentine, which will soften the paint so that it can be removed with the spatula or scraper.
We are sorry to say that we have no experience in that line, but can readily understand that turpentine and coal oil are not powerful enough to do the work.
The most effective and surest method will be burning off with the torch, using the scraper.
Rust spots on marble are usually produced when articles of iron are laid upon the wet marble or allowed to rest upon marble in humid atmosphere. These spots penetrate rather deeply, as marble is very porous, and can be removed only by rubbing down the marble deep enough to obliterate the spots and then repolish the surface. As even the weakest acids will destroy marble, such radical treatment cann…
Under no condition must ammonia, no matter how much diluted, be employed.
Soften the whitewash by wetting it liberally and repeatedly with a solution of two pounds potash in five gallons of water, and when softened, remove with a scraper.
The method usually pursued in repainting brick fronts is to use bent steel scrapers where the paint is soft and scaly, following with stiff brooms or brushes, removing all the loose paint and allowing the balance to remain, as it will not show when the front is painted in flat color. Burning off with the torch would be the quickest and surest method in your case, but you would have to be careful t…
As the cyclists do not give the repairer much time, we do not think that air drying enamel will answer, because if made to dry too rapidly and hard, the paint will chip or scale at the lightest touch, while, on the other hand, if made to dry slow enough to remain elastic, the paint will become tacky or at least be too soft to be of good service. Bicycles, like carriages, often become splashed with…
The best way to obtain good results is to remove the paint still remaining clean to the wood ,either by burning off or by applying the following: Slake 15 pounds of quick stone lime in water, and when fully slaked add 5 pounds of American pearlash, making the mixture of the consistency of semi-paste paint. Lay this fairly thick on the paint, let it remain until the old paint is softened clean down…
If the roof is too far gone, it will be to your discredit to attempt to repaint without informing your patron of the futility of the task.
We do not know of anything that will prevent brick from shelling or chipping, because this is mostly caused by defective material in the brick or defective manufacture of the same. Soft brick will absorb much more moisture than hard brick and neither should ever be painted, excepting after a prolonged dry spell, because the moisture that is kept in the brick by the paint will freeze during cold we…
There is only one material that will serve well for repainting window shades, and that is pure white lead where tints come into question. Zinc white is too brittle, and is very apt to crack at short notice in the rolling lip. Put your curtains or shades, after they are removed from the roller and after fringes, etc., have also been removed, on a table or a couple of boards laid on trestles, and gi…
Resinate of lead is prepared by melting either pale or dark rosin and introducing into the Melted mass under continued agitation with an iron or steel stirring rod or paddle varnish makers' litharge, until the mass becomes so stiff that it will take up no more and the lead oxide is thoroughly mixed with the rosin, which can be ascertained by dropping a portion of the semi-liquid mass on a strip of…
After you have removed the varnish with ammonia, a good saturated solution of oxalic acid applied repeatedly and rinsed with clear water thoroughly should restore the wood to a lighter color, but the black spots should be treated with an application of a solution of tin in dilute muriatic acid.
The ground for mahogany should be made by mixing yellow ocher and Venetian red, ground very fine in oil and thinned with turpentine, adding sufficient drier. It should dry flat and be applied thinly with flat bristle brushes, so as not to show brush marks, which are very aggravating to the grainer. Three thin coats are none too much for new wood, and far better than two stout coats. For rosewood, …
In the first place, you should tell the trustees of the church that they must have the roof looked after, as well as the gutters or valleys of the same, or you cannot guarantee to keep back the stains. To prepare such walls and ceilings as you describe for repainting, broom. them down, fill in the cracks in the usual manner and give the ceiling a thin coat or wash of clear whiting and water, which…
We present the following: No. 1.
There are hundreds of formulas for preparing roughstuff, and they vary only as to the coarse material, which is mixed into white lead, the latter being, along with rubbing varnish and japan, the essential part of every elastic roughstuff, the proportions varying as to the time of drying. To make a 24-hour roughstuff, take one part, by weight, of pure white lead in oil and three parts, by weight, o…
Several rooms that have been varnished are to be rubbed down and given another coat of varnish. Walls and ceilings are all wood. The best material for rubbing is steel wool or curled hair, powdered pumice and water. We cannot say what price per yard you should base your figures on, as we do not know whether you intend to simply "moss" it down or rub to a dead finish. The job may be worth from ten …
Rubbing with pumice and oil makes polishing more easy than rubbing with pumice and water.
Oil colors, when thinned with japan and turpentine, will not run in striping, but japan colors should have some boiled oil and only little turps for thinners, if they are used for this purpose.
In the first place the tank must be dry before it can be painted.
Take chemically pure chrome green, light, ground fine in linseed oil and enough raw sienna in oil and mix the two in sufficient quantity to produce proper effect, then thin with one part boiled linseed oil, one part brown japan and two parts turpentine, making the mixture very thin; apply with brush or cloth and when set wipe across the grain.
A five-gallon bucket of orange shellac varnish, warranted pure gum, and found to be of good quality when bought, in the fall, was allowed to stand all winter in a place without heat.
The frame must be allowed to heat and cool gradually, because the enamel is soft when hot.
Genuine gold leaf will not tarnish from exposure to weather, even salt air, and is better left unprotected by varnish for two good reasons.
Sign painters, in making prices, charge so much per lineal foot for all glass, muslin, oilcloth and board signs, considering the height of the letter and style of letter, as well as color, adding 25 per cent. for shading.
There are a dozen methods for silvering glass, which have been at various periods described in scientific journals, but we shall here describe a few only, which strike us as being simplest of execution and most promising of success in the hands of the beginner. We will preface the description of the process by the remark that in each case a shallow pan or dish, but little larger than the plate of …
In using the method given in No. 391, it was found that in putting the glass in, a black deposit is formed which is easily rubbed off.
When working out a formula do not be discouraged if the first or second attempt prove abortive, but sit down and think awhile, and perhaps you will find that there is one point or another which you have not thought of before and then try again. You state, for instance, that you warmed the plate glass to the temperature of the air. This is not sufficient, but your glass should be warmed through tho…
i. To produce a mirror it is best to use quicksilver, proceeding as follows: Lay a piece of tinfoil on a smooth and perfectly flat surface and pour mercury over it to the depth of one-eighth of an inch. Have the glass plate to be coated perfectly clean and dry, and slide it gently over the mercury, just a trifle below its surface, and when glass is well covered, hold it under pressure for a while …
Drop a small quantity on a piece of white paper, expose it to the air and if the turpentine is pure no traces will be left.
To test for purity, procure nitric acid of 1.40 specific gravity, and use no other for testing various samples of oil at the same time. Use glass testing tubes or two-ounce long vials of clear glass, and put into the tube equal parts of the oil to be tested and nitric acid, shaking it well for one-half of a minute, then set aside for about 15 or 20 minutes to settle. As rosin oils and mineral oils…
For interior work you can reduce any good copal or coach varnish with pure turps or benzine, using one gill of either of these solvents to one-half pint of varnish.
We presume what is wanted is a size to lay aluminum leaf on wooden signs or other objects.
Liquid glue is the best size for rough walls, when they are hard.
The best cheap size for plastered walls that are to be painted in water color is made as follows : Dissolve in five gallons of boiling water twelve ounces of sal soda and four ounces of borax, then, when the crystals are fully dissolved, add, while stirring, one pound of window glass rosin? that has been dissolved in eight ounces of benzine, boil all until the rosin is dissolver..
The surface of a burlap-covered wall has had several coats of kalsomine or other water paint; therefore it will first be necessary to ascertain the binding property of the old paint. If in good condition, you may begin to paint as you would on a hard plastered wall, omitting glue size, using pure white lead and raw linseed oil for first coat, and following up as is your custom for the succeeding c…
For ordinary signs, not exposed to the weather, use a thin size of glue and water.
Take three pounds of quick stone lime, slake it with hot water, then add one pound American pearlash.
We have no experience with the use of soluble glass (silicate of soda) for floors, but can give you the following for what it may be worth and you can try it, the expense not being very great. The floor must be first thoroughly cleansed and cracks filled with a cement made from water glass and whiting; this dry, put on a coat of water glass, which is allowed to become hard, and followed by another…
Several years ago a new industry was started in Paris, France, that of producing hoar frost glass, which is covered with feathery patterns resembling those naturally produced on window panes in frosty weather. The glass is first ground either by sand blast or the ordinary method, and then covered with varnish. This varnish contracts strongly on drying, taking with it the particles of glass to whic…
Such spots will appear not only on damp walls, but also when the paste is not evenly applied or when the wall is more porous in certain places than in others.
A painter was called on to finish some walls plastered with agalite cement, finished rough. He first sized with good white glue ; then applied first coat of oil color, two parts oil to one of turps ; second coat lead tinted a medium shade of green, with chrome yellow and Prussian blue, thinned with turps and enough damar varnish to dry flat. Although it was a good flat finish and a beautiful job, …
Two parlors, dining room and reception hall, were painted in rose tint, terra cotta and green tint. Pure white lead, boiled oil and high grade mixing colors were used. The walls being hard finished, the wall paper was scraped off, the walls properly patched and sandpapered and three coats applied in the dining room and reception hall, while the parlor was given four coats; the first coat only bein…
A gable end wall, the surface of which was in good condition, and had been painted every three years, several times, by the same painter, was given in the spring two coats of pure white lead, tinted with drop black and yellow ocher, and for seven months the job looked very well, but in the fall it began to spot in several places. He mixed the lead and colors for first coat two-thirds boiled oil, o…
In order to make any kind of a job, you will have to remove the varnish first, either by sandpapering or with varnish remover (and we should suggest a mixture of aqua ammonia, two parts, and turpentine, one part), which will probably remove the stain, also, especially if it was a water stain. If this should be the case you'll have clear sailing, as the stain that remained in the grain of the wood …
As you are to match furniture that has been finished in green, you cannot employ the usual method of using a verdigris solution in strong vinegar, but must make up a pigment oil stain. Not knowing the exact tone of the green you wish to match, we cannot give you a formula for the colors required to produce the stain, but would give you the following as a guide : Take chemically pure chrome green i…
For staining wood brown, sulphuric acid, more or less diluted, according to the depth of stain desired, is applied to the wood, previously cleaned and dried with a brush, and when the acid has acted enough its further action is arrested by the application of liquid ammonia. To age oak artificially, liquid ammonia is laid on with a rag or brush, which does the work rapidly and effectually. To darke…