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Classical Oil Varnishes: Classical Amber Varnish

Classical Amber Varnish

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Varnish with a high concentration of resin, formulated with Baltic Amber, linseed oil thickened in the sun and polymerized linseed oil.

This varnish produces a beautiful, transparent warm and resistant film. It gives an optimum result to be combined with pigments, dyes and on glazes. 

It makes the colours brighter and gives depth, luminosity and incomparable solidity. It can be diluted  white spirit, turpentine and with OW Thinner (see “raw materials”).

Due to the quality of the oils used, they give the varnish excellent levelling, drying and resistance to external agents properties. The physical properties of the finish will also depend on carrying out a correct curing or drying of the applied film.

During drying, in addition to the evaporation of the solvents oxidation, reactions also occur with the oxygen in the air. This autoxidation is controlled in all our varnishes by a correct selection of siccatives that guarantee a homogeneous drying on the entire thickness of the applied film. 

We recommend drying our oil-based varnishes in an UV chamber.

 # References: Heraclitus. (s. XI ).“De Coloribus et Artibus Romanorum”.Cap.11-A y 44. # Theophil's Manuscript. (s. XII ). Capítulo 37. # Leonardo Da Vinci (1452 – 1519). “Book of notes”. # Dr. Ketam's. (2ª m. S XV ). “Flemish Manuscript”. # Anónimo alemán (1503 – 1506). “Liber Illuministrarius” . Sec. 19. # Marciana Manuscript. (1503 – 1527). Paragraph 395. # Timoteo Rosello. (1575). “Della Summa de Secretti Universali”. # Theodore Turquet de Mayerne. (1620). “Pictoria, Sculptoria et qua Subalternum Artium”. P. 43 (« The true varnish of lutes and viols ») # Chrstopher L. Morley. (1697). “Collectanea Chymica Leydensia” # Mary P. Merrifield. “ Medieval & Renaissance Treatises on the Arts of Painting”. # Geary L. Baese. “Classic Italian Violin Varnish” # Martin Roberts Zemitis. “Violin Varnish and Coloration”. # Luciano Colombo. “The Old Varnishes for Violin Making”. # Vincenzo Gheroldi.«Venici e Segreti Curiosissimi. Cremona 1747». “Il Manoscritto4 (H 113) della Biblioteca Trivulziana di Milano”.

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