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Author: Stalker, John.
Title: A treatise of japaning and varnishing being a compleat discovery of those arts : with the best way of making all sorts of varnish ... : together with above an hundred distinct patterns of japan-work ... : curiously engraven on 24 large copper plates / by John Stalker.
Publication info: Ann Arbor, Michigan: University of Michigan, Digital Library Production Service
2011 December (TCP phase 2)

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Print source: A treatise of japaning and varnishing being a compleat discovery of those arts : with the best way of making all sorts of varnish ... : together with above an hundred distinct patterns of japan-work ... : curiously engraven on 24 large copper plates / by John Stalker.
Stalker, John., Parker, George, 17th cent.

Oxford: Printed for, and sold by the author ..., 1688.
Reproduction of original in Huntington Library.
Attributed to John Stalker and George Parker. cf. BM.
Table of Contents: p. [8] at front.
Subject terms:
Japanning -- Early works to 1800.
Varnish and varnishing -- Early works to 1800.

title page
THE PREFACE To the Admirers of the Noble Arts of PAINTING, JAPANNING, GUILDING, &c.
CHAP. I. A true Character of the best SPIRITS, GUMS, METALS, &c.
To know a Strong Spirit.
To choose Gum Lac, called Seed-Lac.
To choose Gum Sandrick.
To choose Gum Animae.
White Rosine.
Bole Armoniak.
Gum Arabick.
Gum Capall.
To choose Gum Elemni.
To choose Benjamin, or Benzoine.
Dragons Blood.
Of Brass-dust, which is commonly amongst the Artists called Gold-dust.
To choose Silver-dust.
First, Green-gold,
Of Coppers
CHAP. II. How to make VARNISHES.
To make Seed-Lacc-Varnish.
To make Shell-Lacc-varnish.
To make the best White-varnish.
To make a White-varnish much inferior to the former.
To make Varnish, that shall secure your Draught, whether Gold-work, or Colour, from the injuries of Tarnishing, and will give it a gloss.
To secure your whole piece, both Draught and Ground-work, whereby it may endure polish∣ing, and obtain a Gloss all over, like some of the Indian performances.
CHAP. III. General Rules to be diligently observed in all manner of Varnishing.
CHAP. IV. Of varnishing WOODS without Colour.
To varnish Olive-wood.
To varnish Walnut-wood.
CHAP. V. Of varnishing WOODS with Colour.
Of Black Varnishing or Japan.
To make Lamp-black.
White Varnishing or Japan.
To make Isinglass-Size.
To make Blew-Japan.
To make Gum-water
To make Red-Japan.
To lay or make Chesnut-colour-Japan.
To make an Olive-colour.
CHAP. VI. To work Metals or Colours with Gum-water.
CHAP. VII. To make Gold-size.
CHAP. VIII. To varnish Prints with White Varnish.
CHAP. IX. How to lay Speckles or Strewings on the out, or inside of Boxes, Drawers, Mouldings, &c.
CHAP. X. To lay Speckles on the drawing part of Japan-work, as Rocks, Garments, Flowers, &c.
CHAP. XI. To make raised work in imitation of Japan, and of the Paste.
CHAP. XII. To prepare ordinary, rough-grain'd woods, as Deal, Oak, &c. whereby they may be Japanned, and look well.
Of BANTAM-work.
CHAP. XIV. To take off any Japan-patterns in this Book, upon any piece of work whatsoever.
CHAP. XV. The manner of working and setting off some Draughts in this Book.
To work the First Draught.
To set off Raised work with Black.
The Second Pattern.
The Third Draught.
How to work in Colours and Gold the great Sprig in the XIIIth Print.
CHAP. XVI. To work in Gold-size the Twentieth Print of this Book.
CHAP. XVII. To work in Gold-size the twentythird Print of this Book, with perfect or corrupt Metals.
CHAP. XVIII. To guild any thing in Oyl, whereby it may safety he exposed to the weather.
To make Priming.
Fat Oyl
Gold-Size in Oyl.
How to mix, and lay on Gold-size.
Of laying on the Gold, and the Tools required for the business.
To Lacker in Oyl, such things as are to be exposed to the Weather.
To prepare and guild Carved Frames in Oyl, that are not to be exposed abroad.
CHAP. XIX. To overlay Wood with burnisht Gold and Silver.
Of Gold and Silver-size for Burnishing.
The best way to make Silver-size
The best Gold-size now in use.
Another Size for Silver.
A Size for Gold or Silver.
To Gold-size your Frame.
To lay on Gold for Burnishing
To Burnish your Work.
To lay on Silver-size.
CHAP. XX. To make good Paste, fit to mould or raise Carved work on Frames for Guilding.
To make Paste.
To make a Mould of my Carved Frame, thereby to imitate it in Paste.
Of placing Paste or Carved work on Frames.
To make common Lacker.
Another sort of Lacker.
To make the best sort of Lacker now used by the Guilders.
To make a Lacker, that may be used without Fire or Sun.
To lacker Oyl, Size, or Burnisht Silver.
To make Lackering shew like Burnisht Gold.
CHAP. XXII. Of Guilding Metals.
To prepare Gold.
To guild Silver, Copper, Brass, or Princes-metal.
Another way to guild Silver, Brass, or Princes-metal.
Another, way to heal, or heighten, the Colour of your Gold.
To take off Gold from any guilt Plate, without the damage of one, or loss of the other.
To Silver-over Brass or Copper, as the Clockmakers do their Dial-plates.
To guild Iron, Brass, or Steel, with Leaf-gold or Silver.
To refine Silver.
To separate Gold and Silver, when incorporated, with Aqua fortis.
Directions in Painting MEZZOTINTO-PRINTS, on Glass, or without it. CHAP. XXIII.
To wash, or make any of the Powders very fine.
To make the best Drying-Oyl.
Another more ordinary.
To make Varnishes for these Prints, or Pictures in oyl.
Another more excellent Varnish either for Pictures in oyl, or making Prints transparent.
CHAP. XXIV. To lay Prints on Glass.
To lay Prints, either graved, or Mezzo-tinto's, in such manner, that you may role off all the paper, and leave the shadow behind.
To prepare Prints without glass or straining-frames.
Of the posture and position of the Prints, and those that paint them.
How to paint a Mezzo-tinto-Landskip on Glass, or otherwise.
CHAP. XXV. To Paint a piece of figures, as Men, Women, &c.
To Paint Hair.
To paint Drapery or Garments.
How to paint changeable Drapery.
To paint several sorts of Red Drapery; and, first, of the Finest.
Another Red near the same.
Other Reds more ordinary, without Glazing.
To paint the best Blew, and glaze with Ʋltramarine.
To glaze and paint the best Purple-Drapery.
Purple without glazing.
Yellow Drapery.
To paint the most beautiful Yellow.
To finish, varnish▪ and polish Pictures, that are not laid upon Glass.
To varnish these Prints, or other Pictures, without polishing.
To varnish pictures, and polish them, like Japan.
To Imitate and counterfeit TORTOISE-SHELL and MARBLE. CHAP. XXVI.
Another way to counterfeit Tortoise-shell.
CHAP. XXVII. Of Dying or Staining Wood, Ivory, &c.
To Dye Wood a beautiful Red.
To stain a fine Yellow.
To Dye or Stain Woods of any colour, for Inlaid or Flower'd work, done by the Cabinet-makers.
To Dye or Stain Wood Black.
The best Black Dye for Ivory, Horn, Bone, &c.
To Stain a Green colour on Wood, Ivory, Horn, or Bones.
To Dye Ivory. &c, Red.