AN IMPROVED PROCESS OF PAINTING ON CLOTH, DHORACI THAD A WINLOO Drama
Year: 1880

page_text: LETTERS PATENT to Boleslas de Dutkiewicz, Artist, and Anatole Edward
Decouflé, Proprietor, both of the City of Paris, in the Republic of France,
for an Invention of "AN IMPROVED PROCESS OF PAINTING ON CLOTH,
DHORACI
THAD A WINLOO
Drama "
PROVISIONAL SPECIFICATION left by the said Boleslas de Dutkiewicz
and Anatole Edward Decouflé at the Office of the Commissioners of Patents
on the 2nd June 1880.
BOLESLAS DE DOTKIEWICZ, Artist, and ANATOLE EDWARD DECOUFLÉ, Proprietor,
both of the City of Paris, in the Republic of France. "AN IMPROVED PROCESS OF
PAINTING ON CLOTH, PHOTOGRAPHS, ENGRAVINGS, AND PRINTS."
The subject of the present Invention is a new and improved process of painting
on cloth photographic subjects, portraits, pictures, engravings, and so forth.
This process is or may be divided into four principal parts:-1st. The preparation
of the cloth.
2nd. Photographic painting; 3rd, gluing or fixing the painted cloth on a
sustaining or supporting cloth; and 4th, finishing or touching up of the painting.
1st. Preparation of the Cloth.-We select a cloth of fine texture or grain, on
which we fix the photographic proof of the portrait, engraving, or picture that we
wish to color. We stretch on a frame and varnish the cloth with a composition of
70% of copal, and 30% of rectified essence of turpentine; this mixture beated to a
temperature of 50 to 65 degrees centigrade renders the cloth transparent, and gives
it a resistance equal to that of parchment.
°
2nd. Application of Color.-The cloth thus varnished is dried for 5 or 6 hours in
a stove where a heat reigns of from 25 to 40 degrees. The reverse side is then
painted in oil colors.
3rd. Gluing the Painted Cloth on a Supporting Cloth.-Having left the frame, the
painted cloth is fixed on a stouter cloth, using as glue a copal varnish which is spread
on one or other cloth. These two united cloths are then submitted to the action of a
press with perfectly smooth planes, or very smooth cylinders, so that in drying the

page_text: two cloths only form as it were one. At the expiration of 12 hours of pressure
this double cloth is stretched on a frame and dried in a stove, which renders it
supple and perfectly unchangeable.
4th. Finishing and Touching up.-The cloth is finished by sharpening or softening
the tones.
Finally. Our process of painting on cloth consists,―
1st. In varnishing the cloth on which the photographic proof is obtained by
means of a mixture of hot copal varnish and essence of turpentine.
2nd. In the application on the reverse side of oil colors as soon as the cloth is
dry.
3rd. In gluing the painted cloth on a stouter cloth by means of copal varnish
and pressure between smooth plates or cylinders; 4, in fixing the cloth on a
frame and touching it up to finish the painting.

page_text: SPECIFICATION in pursuance of the conditions of the Letters Patent filed by
the said Boleslas de Dutkiewicz and Anatole Edward Decouflé in the Great
Seal Patent Office on the 30th November 1880.
BOLESLAS DE DUTKIEWICZ, Artist, and ANATOLE Edward DecouFLÉ, Proprietor,
both of the City of Paris, in the Republic of France. "AN IMPROVED PROCESS OF
PAINTING ON CLOTH, PHOTOGRAPHS, ENGRAVINGS AND PRINTS."
This Invention consists of a new inode of painting photographs on cloth, which
are quite equal to the finest oil paintings, with the advantage that the likeness is
perfect, the outlines being the result of photography.
This novel method of painting, that we have denominated "lineography," has
also the following advantages, it accelerates the artist's work, it is accessible to all
on account of its cheapness, and it preserves its artistic character.
And in order that our said Invention may be clearly understood, we shall now
proceed more fully to describe the same, and for that purpose divide the mode of
procedure into four distinct and principal parts:-1st, the preparation of the
cloth; 2nd, the painting of the photograph; 3rd, the sizing of the painted cloth
over another supporting cloth; and 4th, the finishing or retouching of the painting.
1st. The Preparation of the Cloth.-As far as is practicable we choose a very fine
cloth, and it is on this fine cloth, of which the grain is made still smoother by
passing it one or more times between pressing and smoothing cylinders, that we
fix the photographic proof of the picture or likeness that we have to paint. The
photographic proof on cloth having been stretched on a frame we varnish it with a
mixture made with,-
Copal varnish
"
Rectified turpentine essence
70°°
30°
This mixture before being spread on the cloth must we warmed at a temperature
of about 50 to 55 degrees centigrade. The object of this operation is to give the
cloth transparency and solidity. If deemed advisable the mixture may be modified
in its parts, and be rendered more active by the use of French varnish.
2nd. The Painting of the Photograph.-After the cloth has been varnished as
described, it must be left to dry for 5 or 6 hours in a drying place at a mild
temperature of about 25 to 40 degrees; we then paint it cross grain with oil colour.
A short practice will soon show how to apply the paints so that they appear very
bright on the outline, and so that a person not previously acquainted with tho
process may be deceived.
3rd. The Sizing of the Painted Cloth over another Supporting Cloth.-This is
effected after the painted cloth has been taken out of its frame by employing as
glue a copal varnish, which must be spread on one or the other cloth, and then this
double cloth is submitted to a pressure of about 500 kilogrammes, after which
operation these two cloths form but one. The pressure must be maintained 12
hours, and then the cloth is stretched on a frame as would be the case for an
ordinary oil picture, when it is left to dry in this manner for about 12 hours more.
4th. The Finishing or Retouching of the Painting.- Finally the work has only to
be retouched on the cloth itself in order to strengthen or soften some part or other,
that is to say, in order to make it the most perfect likeness, and give it a perfect
finish.
Having now described and particularly ascertained the nature of our said
Invention, and the manner in which the same is or may be used or carried into
effect, we would observe in conclusion that what we consider to be novel and
original, and therefore claim as our property is,-
First. The preparation of the cloth on which the photographic proof is obtained

page_text: by means of a hot mixture of copal varnish and turpentine essence, as hereinbefore
described, for the purpose of obtaining the transparency and firmness of the cloth.
Second. The peculiar mode of disposing the oil paints cross grain, after having
previously taken care to dry the varnished cloth.
Third. The application and sizing of the painted cloth over a second and stronger
one, in using for the purpose a copal varnish as glue, and a press which effects an
intimate adhesion of both, so that they form but one.
Fourth. The cloth having been conveniently pressed and warned is placed on a
frame in the usual way and retouched; the picture being artistically painted is now
complete and perfect.
We reserve to ourselves all equivalent. modifications in the execution of our
Invention which practice may induce, either in the varnish, or in any other part
of our new mode of producing oil paintings.
In witness whereof, we, the said Boleslas de Dutkiewicz and Anatole Edward
Decouflé, have hereunto set our hands and seals, this Twenty seventh day of
November, in the year of our Lord One thousand eight hundred and eighty.
BOLESLAS DE DUTKIEWICZ. (L.S.)
A. E. DECOUFLÉ.
(L.S.)