A New Process for Producing Facsimiles of Oil Paintings, Water Colour Paintings, and Drawings of any Description on Canvas and other Surfaces.
Year: 1896

page_text: Date of Application, 17th Sept.. 1896
Complete Specification Left. 17th June, 1897-Accepted, 31st July, 1897
DRAVISIONAL
ום
42
ICAT
A New Process for Producing Facsimiles of Oil Paintings, Water
Colour Paintings, and Drawings of any Description on Canvas
and other Surfaces.
I LOUIS MAYAR of 9 Thayer Street Manchester Square London in the County of
Middlesex, Gentleman do hereby declare the nature of this invention to be as
follows:-
This invention has reference to a new or improved mode and means of producing
fac-similes of oil paintings (to an unlimited number) on canvas or any other suitable
surfaces with the different colours tints shades releifs concavities and the strokes of
the artist's brush are faithfully reproduced.
The nature and novelty of the improvement consists as follows:
Firstly as regards producing facsimiles of oil paintings on canvas with the
different tints, shades of colours. A drawing of the oil painting in outline on transfer
tracing paper is taken in the ordinary way (as known in the process of Chromo
lithography) the said outline drawing then transferred onto stone or zinc a proof is
then obtained and therefrom the different flat local tints of the oil painting are
indicated.
Another outline is taken on transfer paper (prepared for the purpose) and transferred
onto stone the paper is then cut into sections the number and shapes of which will
represent the portions of the painting that are to appear of a certain tint representing
the different colours of the oil painting previously arranged on the paper serving as a
guide in cutting the sections.
Secondly. Then with some portions of the paper acting as a nark for the required
blank parts, I make a transfer for each colour required on the separate stones, this
will obviate the necessity of transferring the whole of the work to one stone in order
to obtain sectional transfers. Then the different colours are printed in succession
from the stones on transfer paper prepared for that purpose but on the reverse way
I then pass one or two coats of suitable colours according to the ground work of the
oil painting so as to cover the design.
Thirdly. An imprint of the oil painting is taken with gelatine, gumeline or any
other suitable material which reproduces the strokes and touches of the artist's brush
and the different releifs and concavities of the painting, from this imprint I obtain.
by the process of electro-metallurgy a block or plate which reproduces faithfully all
the releifs and depressions of the oil painting, this block or plate which has been
covered with a coating of iron is heated and by a powerful pressure is imprinted upon
the surface of the painting which has been placed on the canvas prepared for the
purpose the releifs concavities and strokes of the artist's brush are exactly and
faithfully reproduced.
It will be readily understood that the process herein before more particularly in
connection with the reproduction of fac-similes of oil paintings on canvas and other

page_text: surfaces, may be used for reproducing water colour paintings or any description of like
or similar works of art.
Dated this Sixteenth day of September 1896.
A New Process for Producing Facsimiles of Oil Paintings, Water
Colour Paintings, and Drawings of any Description on Canvas
and other Surfaces.
I, LOUIS MAYAR, of 19 Beauchamp Place, Pont Street, S.W. (formerly of 9 Thayer
Street, Manchester Square, W.), in the County of Middlesex, Gentleman do hereby
declare the nature of this invention and in what manner the same is to be
performed, to be particularly described and ascertained in and by the following
statement:
This invention has reference to a new or improved mode and means of producing
fac-similes of oil paintings, water colour paintings, and drawings of any description,
(to an unlimited number), on canvas, and any other suitable surfaces, with the
different colours, tints, shades, reliefs, flat concavities, and the strokes of the artist's
brush are faithfully reproduced. The nature and novelty of this invention or
improvement consists as follows:-
Firstly. As regards to producing fac-similes of oil paintings on canvas with the
different tints and shades of colours. A drawing of the oil painting in outline on
transfer tracing paper is taken in the ordinary way, (as known in the Chromo-
lithography process), the said outline is transferred on to stone or zinc as the case
may be, a proof is then obtained and therefrom the different flat and local tints of the
oil paintings are indicated.
Another outline is taken on the transfer paper (prepared for the purpose) and
transferred on to stone, the paper is then cut into sections the number and shapes of
which will represent the positions of the paintings that are to appear of a certain
tint representing the different colours of the oil painting previously arranged on the
paper serving as a guide in cutting the sections, with some portions of the paper
acting as a mark for the required blank part, a transfer for each colour is made on
separate stones this will obviate the necessity of transferring the whole of the work
to one single stone in order to obtain sectional transfer, then the different colours are
printed in succession from the stones on the transfer paper (which has been prepared
for the purpose) on the reverse way or in the usual way according to the work to be
produced.
Secondly. The paper on which the different colours are to be printed is prepared
as follows:-
Good unsized paper is taken, and by means of a soft brush or otherwise, is covered
with a coat of light solution or liquid mixture of dexterine and feculine, when dried
the said solution is covered with a light coat of good transfer varnish which is allowed
to dry.
When sufficiently dried the said paper is passed through a press to render
it suitable for receiving the printing of the different colours from the stones in
succession, the proof being terminated they are transferred onto canvas which has
been prepared for the purpose, the said canvas is covered with one or two coats of
colours or more if required according to the reliefs and concavities of the painting to
be reproduced.
Thirdly. An imprint is taken of the original oil painting with a solution of
gomeline, gelatine or any other suitable material, the said solution while luke warm is

page_text: poured on the original oil painting, to prevent adhesion of the solution a tissue
paper or any other fine material, imbibed with oil, is placed on the surface of the oil
painting, when sufficiently dry the solution is covered with one, two or more coats of
thick colour and with a gentle pressure the reliefs and flat of the oil painting are
faithfully reproduced on the imprint, after a few days the said solution is separated
from the oil painting which has not suffered the least damage, by the process of
Electro-metallurgy a plate is obtained, which plate is used for producing the exact
reliefs and concavities possessed by the oil painting on the canvas, after all the colours
possessed by the original painting are printed on the transfer paper and the plate for
reproducing the reliefs of the painting has been obtained as hereinbefore described,
the canvas is prepared with one, two or more coats of colours according to the
thickness of the reliefs of the painting to be reproduced, the last coat representing
the ground colours of the painting, the said design is then covered with a coat of
good transfer varnish and laid on the canvas and the plate which has been heated by
steam is placed on the back of the design and with powerful pressure the design
printed on the transfer paper adheres perfectly to the canvas and the reliefs and
concavities exactly reproduced, the paper is then removed by washing it with sponge
and soap and water and when sufficiently dried varnished with a good varnish
nastic and the picture is finished.
It will be readily understood that the herein-before, more particularly in connection
with the reproduction or fac-similes of oil paintings on canvas and any other suitable
surfaces, may be used for reproducing water colour paintings, and any description of
similar works of art.
Having now particularly described and ascertained the nature of my said
invention and in what manner the same is to be performed I declare that what I
claim is
Firstly. The process and combinations of processes herein before described for
producing fac-similes of oil paintings, water colour paintings and any description of
similar works of art, on canvas and any other suitable surfaces essentially as
described.
Secondly. The process and combinations of processes for taking an imprint of
the original oil painting and therefrom obtaining a plate for producing the reliefs,
concavities and touches of the artist's brush on canvas and other surfaces essentially
as herein before described.
Thirdly. The preparation of the canvas with colours and varnish for receiving
the picture from the transfer paper, and the preparation of the transfer paper with
dexterine, feculine and varnish as herein before described for receiving upon it the
various colours printed from the lithographic stones, which paper is used for
transferring the painting to the canvas by means of a heated plate substantially as
described.