Netherlands. 17th century. War-Scene-xx-Sebastian-Vrancx.
Showing posts with label oil cloth. Show all posts
Showing posts with label oil cloth. Show all posts
Thursday, 2 March 2017
Saturday, 12 November 2016
Research Update on Oilcloth Recipes.
Waterproofing ingredients for oilcloth.
2.2.1 Drying Oil Recipes
A source from 1758 describes the
preparation of drying oil (mainly intended for “coarser work”) as involving
boiling or simmering the oil in conjunction with a variety of driers used at
once, including litharge, white lead, red lead, lead acetate, and sulfate of
zinc (Dossie
1758, 148–49). Reports on the color of these early drying oils indicate
that they could be very dark: “a good drying oil is not to be had of them [the
colormen], what they furnish us with being so highly colored as to be improper
for the purposes of fine painting, and only can be admitted in the darkest
shades or back grounds” (Williams
1787, 25). By contrast, recipes provided in the artists' oil painting
instruction books were largely directed toward the preparation of a drying oil
that would be as colorless as possible; these tended to include only one type
of drier.
One of the preferred methods was to use
metallic lead, either by agitating the oil with lead shot or by “grinding” the
oil with a leaden pestle in a lead-lined mortar. Prolonged storage in a leaden
vessel was also recommended. Litharge (and very occasionally white lead) was
sometimes substituted for metallic lead and used in a similar manner. For
example, Rembrandt Peale's method was to add 2 tablespoons of litharge to and
8-ounce phial which was then filled with linseed oil. It was to be kept exposed
to the sun or near a fire for a few days and shanken frequently (Sully
1873, 33).
Litharge was available in two varieties:
silver and gold. Silver, or yellow litharge, was heated higher and was reported
to be a harder material than the gold, or red litharge. Field
(1841, 108) recommended the silver over the gold because it was more highly
oxidized and would therefore make a more effective drier. Sources warned that
litharge was often contaminated with iron or copper oxides and noted that it
contained significant amounts of silica as an impurity. Although it appeared
frequently in drying oil recipes, litharge was not recommended to artists for
use by itself (to be added directly to the colors on the palette), and it was
not listed as a separate article in the colormen's catalogs.
The earliest recipes for drying oils in the
sources consulted contained the highest proportion of driers to oil. In later
publications, the ratio of 1 part drier to 8 parts oil or 1 part drier to 16
parts oil became more common. The preparation of drying oil was dangerous
because of the risk of fire and required skilled workmen to achieve a
consistently high-quality product. Judging from orders for both oil and driers,
it appears that Roberson's prepared its own drying oil between 1830 to 1853.
Sometime after, the firm consistently purchased drying oils ready-made.
OIL PAINTS
Linseed oil, obtained by crushing flax, was
the most important oil for use in oil paints. Its rather yellow colour was a
drawback, and for more delicate shades other more expensive oils, like walnut
or poppy seed, were sometimes used. These are all 'drying oils' - they absorb
oxygen from the atmosphere to form a hard flexible film. This reaction could be
accelerated by the addition of driers, notably litharge or lead monoxide, to
the linseed oil. Grinding white lead (basic lead carbonate) with linseed oil produced
a mixture called 'lead soap', which was an outstandingly flexible and adhesive
coating. It also had excellent opacity, or covering power, whilst many other
white pigments, such as chalk, became almost transparent in oil. White lead
also helped the linseed oil to dry, unlike some other pigments, such as
lampblack, which slowed the drying process.
White lead had been known since antiquity
to be the best white pigment available for use with drying oils. It was made by
suspending sheets of lead metal over vinegar in covered pots. These were then
laid in a dung heap to keep warm for several weeks to allow the fumes from the
vinegar to react with the lead. After removal, the white lead powder (lead
carbonate) which formed on the surface of the sheets was ground to a fine
powder. This was called the Dutch or stack process and was used until the late
19th century when the more efficient chamber process was developed.
The white lead was originally ground with
the linseed oil by hand using a Muller and Slab, then later by machines such as
cone mills or edge runners driven by horse or steam power. Paints typically
contained over 80 per cent white lead with the balance made up of the linseed
oil binder and turpentine as the solvent. The balance between these two dictated
the properties of the paint. More oil than turpentine gave a well-bound but
glossy paint that was more resistant to the weather, and was suitable for
outside and inside use; more turpentine than oil gave a matt finish that was
suitable for indoor use only.
To make a Composition for rendering Canvas,
Linen, and Cloth durable, Pliable, and Water-proof. To make it Black. First,
the canvas, linen, or cloth is to be washed with hot or cold water, the former
preferable, so as to discharge the stiffening which all new canvas, linen, or
cloth contains; when the stiffening is perfectly discharged, hang the canvas,
linen, or cloth up to dry; when perfectly so, it must be constantly rubbed by
the hand until it becomes supple; it must then be stretched in a hollow frame
very tight, and the following ingredients are to be laid on with a brush for
the first coat, viz., 8 qts. of boiled linseed oil, 1/2 oz. of burnt umber, 1/4 oz. of sugar of
lead, 1/4 oz. of white vitriol, 1/4 oz. of white lead.
The above ingredients, except the white lead, must be ground fine with a small quantity of the above-mentioned oil, on a stone or muller; then mix all the ingredients up with the oil, and add 3 oz. of lampblack, which must be put over a slow fire in an iron broad vessel, and kept stirred until the grease disappears. In consequences of the canvas being washed and then rubbed, it will appear rough and nappy; the following method must be taken with the second coat, viz., the same ingredients as before, except the white lead; this coat with set in a few hours, according to the weather; when set take a dry paint-brush and work it very hard with the grain of the canvas; this will cause the nap to lie smooth.
The third and last coat makes a complete jet-black, which continues its color: Take 3 galls. of boiled linseed oil, and ounce of burnt umber, 1/2 oz. of sugar of lead, 1/4 oz. of white vitriol, 1/2 oz. of Prussian blue, and 1/4 oz. of verdigris; this must be all ground very fine in a small quantity of the above oil, then add 4 oz. of lampblack, put through the same process of fire as the first coat. The above are to be laid on and used at discretion, in a similar way to paint.
The above ingredients, except the white lead, must be ground fine with a small quantity of the above-mentioned oil, on a stone or muller; then mix all the ingredients up with the oil, and add 3 oz. of lampblack, which must be put over a slow fire in an iron broad vessel, and kept stirred until the grease disappears. In consequences of the canvas being washed and then rubbed, it will appear rough and nappy; the following method must be taken with the second coat, viz., the same ingredients as before, except the white lead; this coat with set in a few hours, according to the weather; when set take a dry paint-brush and work it very hard with the grain of the canvas; this will cause the nap to lie smooth.
The third and last coat makes a complete jet-black, which continues its color: Take 3 galls. of boiled linseed oil, and ounce of burnt umber, 1/2 oz. of sugar of lead, 1/4 oz. of white vitriol, 1/2 oz. of Prussian blue, and 1/4 oz. of verdigris; this must be all ground very fine in a small quantity of the above oil, then add 4 oz. of lampblack, put through the same process of fire as the first coat. The above are to be laid on and used at discretion, in a similar way to paint.
CYCLOPEDIA OF PAINTING
To Make Gold Size. Take Gum Animi,
Asphaltum, of each 1 ounce, minium litharge of gold and umber, of each %
ounce, reduce all into a veryfine powder, and add to them, of linseed oil 4
ounces, of drying oil 8 ounces, digest over a gentle fire that does not flame,
so that it may only simmer and bubble up, but not boil, for fear it should run
over and set the house on fire.
Keep constantly stirring with a stick till
all the ingredients are dissolved and incorporated, and do not leave off
stirring it till it becomes thick and ropy, and is boiled enough, let it stand
till it is almost cold, and then strain it through a coarse linen cloth, and
keep it for use. To prepare for use, mix with oil of turpentine during heating,
and strain again, add vermilion, and thin as required with turpentine. http://www.forgottenbooks.com/readbook_text/Cyclopedia_of_Painting_1000230154/405
Litharge is pure lead and when boiled with linseed
or Walnut oil creates what is called black oil. Carbonate of lead contains
moisture which is forced out by the heat. The lead fumes are poisonous and the
oil becomes poisonous.
Lead is rusted and becomes white ( flake
white). When burned again it becomes red oxide (used in painting barns). When
fired again it has the look of a light gray, thus Litharge of silver, when
fired again it becomes a soft yellow in colour,(Litharge of gold). When
Litharge of gold is mixed with one of the above oils and heated between 180 and
200 degrees centigrade the oil begins to smoke and turn brownish. The litharge
at 150 degrees begins to turn into scrap and sticks to the spatula. At
210 degrees the deposits soften and mixes with the oil. At 250 the lead is permanently
suspended in the oil and the colour is of clear brown coffee. It is the black
oil developed during the 1400 century. I can't caution you enough about the
danger of lead poisoning.
"The cloth was water-proofed by coating it with a boiled linseed and
"litharge of gold" After several coats of the oil preparation
were dry, the cloth was well sealed and remained flexible." 1758.
Waterproofing
By Gene Hickman
Manuel Lisa Party - Montana Brigade
Whether you make or purchase a haversack or
knapsack you may want to waterproof them. One easy method is to impregnate it
with beeswax. This also works well for any light cotton canvas, hemp or linen,
such as used in tinder bags, meat bags, etc. You will need:
Beeswax
Old paint brush
Empty disposable butter tub
Newspapers
Old iron or hair dryer
Spread your haversack on several layers of
newspapers to absorb spilled wax. Place beeswax in butter tub and heat in
microwave oven until melted. “Paint” the melted wax on the haversack with the
paintbrush. You can reheat wax anytime as it starts to harden again. Try to get
wax to soak in the seams. It will look really ugly, but don’t give up. Now take
the old iron and start to iron the wax into the material or apply heat with the
hair dryer. You can use a new iron, but you don’t have to clean an old one. Good
idea to ask wife first. The hot iron or hair dryer melt the fabric and it will
start absorbing it. Continue until you have covered the entire bag. It will
darken linen bags and give it a good old time look. As you use the item you
will get lighter colored creases in the fabric, which makes it only look
better. I have also mixed a small amount of bear grease with the wax. On white
canvas the wax will give the material a yellow look, so if you add some artists
acrylic colors (burnt umber, brown, etc.) it will darken the fabric and give
you a more satisfactory look.
Another waterproofing method, which can be
used on packs, haversacks, ground cloths, trail tarps or tents, is to put a
pound of beeswax in a quart of turpentine and paint it on. You have to heat
both of these and mix them hot. A very hazardous procedure as they are both
flammable. Some also add hot linseed oil to the turpentine beeswax mix. Then
you wait for all of the turpentine and/or linseed oil to evaporate.
Donald Jackson's book "Letters of the
Lewis and Clark Expedition and Related
Documents,” contains an invoice from Mr. Richd. Wevill, dated June 15, 1803 in which he bills the government for:
Documents,” contains an invoice from Mr. Richd. Wevill, dated June 15, 1803 in which he bills the government for:
107 yds of brown Linen
46 1/2 yds of (Russia) Flanders sheeting
10 yds of 7/8 Country Linen
Oiling all of the linen and sheeting and
making the brown linen into 8 tents and the Russia Sheeting into 45 bags.
If you want to paint a haversack, pack,
sail cloth or tarp, the most common “period paint” was called Spanish Brown.
"Spanish Brown," which is red iron oxide paint, was one of the most
common colours of oilcloth in the 18th and 19th century frontier. This was
linseed oil with iron oxide mixed in it. It was commonly used to waterproof
tarps, military packs and to paint wood. Use boiled linseed oil and powdered
iron oxide (an earth pigment). Iron oxide comes in a variety of shades from a
yellow to a deep rust brown. The colour depends on the purity and temperature
the earth was heated too, either
geologically or artificially. These “earths” are all used in making
pottery glazes, and can be bought at pottery making shops or suppliers. The
iron oxide seems to act as the filler, filling the pores in the fabric, and it
is important in the process.
To make it simply mix iron oxide in linseed
oil. It can be mixed at about 1 – 1 ½
cups iron oxide per quart of linseed oil. Other formulas call for 3 cups
iron oxide per 2 quarts of linseed oil and 4 cups per 3 quarts. I have just
“eye-balled” the mix to what looked good and it was thick like a thick latex
paint. It can take several weeks for the linseed oil to dry out on wood and
fabric. The higher the humidity and the lower the temperature, the longer the
drying time. Drying time in some areas can be several weeks and it will still
be “tacky.” If you lay the fabric flat as described below you’ll have to paint
a side and let it dry before painting the other side. However, if you hang the
item to dry you may paint a side, flip it and then paint the other side. The
drying process can be speeded up, by adding some “Japan Dryer”. The fabric will
often be “tacky” after drying. You can take something like a pumice stone and
rub off the tackiness. This seems to work better if it is dried in the shade
rather than direct sunlight.
Linseed oil is highly flammable and rags or
papers saturated with linseed oil can spontaneously ignite. Do this project
outside and dry out all rags etc. before throwing them away.
There are also several paints on the market
called “American Pride Brand” barn paint in flat red (sold by Hardware Hank)
and Van Sickle red barn paint (sold by ACE Hardware), these may also be
obtained at a farm co-op or a well stocked paint store. The only ingredients
are boiled linseed oil, red iron oxide, and calcium carbonate[lime]. The
calcium carbonate works as a dryer. Spread out your canvas and paint the one
side and allow to cure. Flip it over and paint the other side and allow it to
cure. If needed you may flip it back over and apply a second coat to the first
side. This process takes days to allow the coats to dry. Several thin layers
are better than thick layers of paint. I have had pieces of canvas painted with
the homemade linseed oil and iron oxide mixture, and another with the Van
Sickle barn paint. They are indistinguishable in color and texture. The barn
painted canvas does seem to be lighter. These sample pieces have both been
hanging outside in a tree for almost 2 years and look as good as the day I hung
them up.
Iron oxide can also be purchased at art
supply stores and some paint or hardware stores. I get mine from the Archie
Bray Clay Business, http://www.archiebray.org/business.html,
in Helena, MT, where they carry it by the pound. You can e-mail, call or go by
the Archie Bray foundation to get some. It runs about $1.50 a pound when I
checked last. The iron oxide they carry will be from an ochre yellow to a
reddish brown, depending on the purity and its origin. All work fine.
Oiled Umbrellas
Historically, the Chiang Mai umbrella
cluster's central product is the "oiled umbrella". Oiled umbrellas
are made with a carefully carved bamboo frame, then covered with fine cotton,
to which different layers of waterproofing are applied. While the natural
waterproofing method is regarded as somewhat of a local trade secret, it
traditionally includes teak oil and colour pigment. In the modern, more
competitive marketplace, natural materials may be combined with more easily
available synthetic oils and colours.
500ml of raw linseed oil
250gm of beeswax or paraffin wax (beeswax is best so if you can get that, use it)
50ml of mineral turpentine
250gm of beeswax or paraffin wax (beeswax is best so if you can get that, use it)
50ml of mineral turpentine
Place all of the wax inside the small pot
and the small pot inside the larger pot on the stove.
2
Add water to the larger pot until it rises
two inches along the side of the smaller pot.
3
Turn on the heat until the water begins to
boil and then reduce to a simmer.
4
Add water to the larger pot every time
there is less than an inch of water remaining.
5
Turn off the heat when both waxes are
melted and mixed together.
6
Pour the melted wax into a plastic mold and
allow to solidify overnight.
Waterproof the cotton fabric
7
Lay the cotton fabric to be waterproofed
flat on a large, stable surface like a table.
8
Rub the waterproofing wax hard against the
fabric until you cannot add anymore.
9
Turn the hairdryer on high and sweep it
over the waxed cotton fabric until the wax melts into the fibers.
10
Repeat three times for a total of four
coats on each side of the fabric. The fabric will initially be darker and
stiffer with the added wax, but this will ease in time
http://www.ehow.com/how_7858140_make-waxed-cotton-fabric.html
Read more: How to Make Waxed Cotton Fabric | eHow.com http://www.ehow.com/how_7858140_make-waxed-cotton-fabric.html#ixzz2BVxXuUeJ
The same for waterproofing canvas but add
bees wax 50 parts and 50 parts sweet oil. then smoke the canvas.I note that my
great grandfather also used waterproof compound on packs .. 4oz neatsfoot, 8oz
suet,1oz lamp black,1 and 1/2oz litharge,melt together stir untill
cold.Footnote;wary of exploding linseed. Russ Tyenna.
Period Recipe: This recipe is an
approximation, since the original recipe specified "litharge," or
lead monoxide (PbO) which is extremely poisonous. Bright Idea: Leave out the
lampblack, and you have a recipe for a nice civilian waterproof cloth. I
strongly recommend this recipe because it is about as authentic as you can get
without putting life and limb in danger. Materials: • Boiled linseed oil •
Mineral spirits paint thinner (or turpentine) • Lampblack (comes in tubes or
dry powder) • Japan dryer • Corn starch Method: Make a sizing by boiling about
a quart of water and adding cornstarch mixed in cold water until the mixture becomes
a little syrupy. Paint the cloth with the cornstarch sizing and let dry. Mix
one part of boiled linseed oil with one part of mineral spirits. Add lamp black
until the paint is a very opaque black. Add one oz. (2 tbsp) of Japan dryer per
pint. With a brush, paint the cloth with the blackened linseed oil and let dry.
This can take several days. Mix one part of boiled linseed oil with two parts
of mineral spirits. Add one oz. of Japan dryer per pint. With a brush, paint
the cloth with the clear linseed oil mixture and let it dry. This can also take
several days. Two coats of this mixture should give the results you want. (You
can omit the cornstarch sizing if you want, but the oil-based paint will pretty
much soak the cloth.).
http://www.palmettobattalion.org/Oilcloth%20and%20Painted%20Accouterments.pdf
Thursday, 21 May 2015
DANGER ! Boiled Linseed Oil, Or Is It ???
For those of you making your own oilcloth, or using linseed oil on wooden implements used for food, it is wise to note that the "Boiled Linseed Oil" you purchase is in fact NOT BOILED!!! Instead the manufacturers have added poisonous chemicals to aid the drying process!!!
ONLY therefore ever use RAW LINSEED OIL. It will take longer to dry if you don't boil it first, but it is safer. Make sure you read the contents label even on raw linseed before purchasing.
Keith.
For more info go here: http://www.naturalhandyman.com/iip/infpai/inflin.html
Monday, 4 August 2014
18th Century Paint Recipe for Oilcloth.
WARNING: These recipes are original paints and include lead to aid drying. DO NOT use these recipes on your oilcloth. I suggest you make up a mixture of beeswax, boiled linseed oil and a brown oil paint. You can add turpentine if you wish to speed up the drying process.
2.2.1 Drying Oil Recipes
OIL
PAINTS
"The cloth was water-proofed by coating it with a boiled linseed and
"litharge of gold" After several coats of the oil preparation
were dry, the cloth was well sealed and remained flexible." 1758.
Oiled Umbrellas
Waterproofing ingredients for
oilcloth.
2.2.1 Drying Oil Recipes
A source from 1758 describes the
preparation of drying oil (mainly intended for “coarser work”) as involving
boiling or simmering the oil in conjunction with a variety of driers used at
once, including litharge, white lead, red lead, lead acetate, and sulfate of
zinc (Dossie
1758, 148–49). Reports on the color of these early drying oils indicate
that they could be very dark: “a good drying oil is not to be had of them [the
colormen], what they furnish us with being so highly colored as to be improper
for the purposes of fine painting, and only can be admitted in the darkest
shades or back grounds” (Williams
1787, 25). By contrast, recipes provided in the artists' oil painting
instruction books were largely directed toward the preparation of a drying oil
that would be as colorless as possible; these tended to include only one type
of drier.
One of the preferred methods was to
use metallic lead, either by agitating the oil with lead shot or by “grinding”
the oil with a leaden pestle in a lead-lined mortar. Prolonged storage in a
leaden vessel was also recommended. Litharge (and very occasionally white lead)
was sometimes substituted for metallic lead and used in a similar manner. For
example, Rembrandt Peale's method was to add 2 tablespoons of litharge to and
8-ounce phial which was then filled with linseed oil. It was to be kept exposed
to the sun or near a fire for a few days and shanken frequently (Sully
1873, 33).
Litharge was available in two
varieties: silver and gold. Silver, or yellow litharge, was heated higher and
was reported to be a harder material than the gold, or red litharge. Field
(1841, 108) recommended the silver over the gold because it was more highly
oxidized and would therefore make a more effective drier. Sources warned that
litharge was often contaminated with iron or copper oxides and noted that it
contained significant amounts of silica as an impurity. Although
The earliest recipes for drying oils
in the sources consulted contained the highest proportion of driers to oil. In
later publications, the ratio of 1 part drier to 8 parts oil or 1 part drier to
16 parts oil became more common. The preparation of drying oil was dangerous
because of the risk of fire and required skilled workmen to achieve a
consistently high-quality product. Judging from orders for both oil and driers,
it appears that Roberson's prepared its own drying oil between 1830 to 1853.
Sometime after, the firm consistently purchased drying oils ready-made.
OIL
PAINTS
Linseed oil, obtained by crushing flax, was the most important oil
for use in oil paints. Its rather yellow colour was a drawback, and for more
delicate shades other more expensive oils, like walnut or poppy seed, were
sometimes used. These are all 'drying oils' - they absorb oxygen from the
atmosphere to form a hard flexible film. This reaction could be accelerated by
the addition of driers, notably litharge or lead monoxide, to the linseed oil.
Grinding white lead (basic lead carbonate) with linseed oil produced a mixture
called 'lead soap', which was an outstandingly flexible and adhesive coating.
It also had excellent opacity, or covering power, whilst many other white
pigments, such as chalk, became almost transparent in oil. White lead also
helped the linseed oil to dry, unlike some other pigments, such as lampblack,
which slowed the drying process.
White lead had been known since antiquity to be the best white
pigment available for use with drying oils. It was made by suspending sheets of
lead metal over vinegar in covered pots. These were then laid in a dung heap to
keep warm for several weeks to allow the fumes from the vinegar to react with
the lead. After removal, the white lead powder (lead carbonate) which formed on
the surface of the sheets was ground to a fine powder. This was called the
Dutch or stack process and was used until the late 19th century when the more
efficient chamber process was developed.
The white lead was originally ground with the linseed oil by hand
using a Muller and Slab, then later by machines such as cone mills or edge
runners driven by horse or steam power. Paints typically contained over 80 per
cent white lead with the balance made up of the linseed oil binder and
turpentine as the solvent. The balance between these two dictated the
properties of the paint. More oil than turpentine gave a well-bound but glossy
paint that was more resistant to the weather, and was suitable for outside and
inside use; more turpentine than oil gave a matt finish that was suitable for
indoor use only.
To make a Composition
for rendering Canvas, Linen, and Cloth durable, Pliable, and Water-proof. To
make it Black. First, the canvas, linen, or cloth is to be washed
with hot or cold water, the former preferable, so as to discharge the
stiffening which all new canvas, linen, or cloth contains; when the stiffening
is perfectly discharged, hang the canvas, linen, or cloth up to dry; when
perfectly so, it must be constantly rubbed by the hand until it becomes supple;
it must then be stretched in a hollow frame very tight, and the following
ingredients are to be laid on with a brush for the first coat, viz., 8 qts. of
boiled linseed oil, 1/2 oz. of burnt umber, 1/4 oz. of sugar of lead,
1/4 oz. of white vitriol,
1/4 oz. of white lead.
The above ingredients, except the white lead, must be ground fine with a small quantity of the above-mentioned oil, on a stone or muller; then mix all the ingredients up with the oil, and add 3 oz. of lampblack, which must be put over a slow fire in an iron broad vessel, and kept stirred until the grease disappears. In consequences of the canvas being washed and then rubbed, it will appear rough and nappy; the following method must be taken with the second coat, viz., the same ingredients as before, except the white lead; this coat with set in a few hours, according to the weather; when set take a dry paint-brush and work it very hard with the grain of the canvas; this will cause the nap to lie smooth.
The third and last coat makes a complete jet-black, which continues its color: Take 3 galls. of boiled linseed oil, and ounce of burnt umber, 1/2 oz. of sugar of lead, 1/4 oz. of white vitriol, 1/2 oz. of Prussian blue, and 1/4 oz. of verdigris; this must be all ground very fine in a small quantity of the above oil, then add 4 oz. of lampblack, put through the same process of fire as the first coat. The above are to be laid on and used at discretion, in a similar way to paint.
The above ingredients, except the white lead, must be ground fine with a small quantity of the above-mentioned oil, on a stone or muller; then mix all the ingredients up with the oil, and add 3 oz. of lampblack, which must be put over a slow fire in an iron broad vessel, and kept stirred until the grease disappears. In consequences of the canvas being washed and then rubbed, it will appear rough and nappy; the following method must be taken with the second coat, viz., the same ingredients as before, except the white lead; this coat with set in a few hours, according to the weather; when set take a dry paint-brush and work it very hard with the grain of the canvas; this will cause the nap to lie smooth.
The third and last coat makes a complete jet-black, which continues its color: Take 3 galls. of boiled linseed oil, and ounce of burnt umber, 1/2 oz. of sugar of lead, 1/4 oz. of white vitriol, 1/2 oz. of Prussian blue, and 1/4 oz. of verdigris; this must be all ground very fine in a small quantity of the above oil, then add 4 oz. of lampblack, put through the same process of fire as the first coat. The above are to be laid on and used at discretion, in a similar way to paint.
CYCLOPEDIA OF PAINTING
To
Make Gold Size. Take Gum Animi, Asphaltum, of each 1 ounce, minium
litharge of gold and umber, of each % ounce, reduce all into a veryfine powder,
and add to them, of linseed oil 4 ounces, of drying oil 8 ounces, digest over a
gentle fire that does not flame, so that it may only simmer and bubble up, but
not boil, for fear it should run over and set the house on fire.
Keep
constantly stirring with a stick till all the ingredients are dissolved and
incorporated, and do not leave off stirring it till it becomes thick and ropy,
and is boiled enough, let it stand till it is almost cold, and then strain it
through a coarse linen cloth, and keep it for use. To prepare for use, mix with
oil of turpentine during heating, and strain again, add vermilion, and thin as
required with turpentine. http://www.forgottenbooks.com/readbook_text/Cyclopedia_of_Painting_1000230154/405
Litharge is pure lead and when boiled with
linseed or Walnut oil creates what is called black oil. Carbonate of lead
contains moisture which is forced out by the heat. The lead fumes are poisonous
and the oil becomes poisonous.
Lead is rusted and becomes white ( flake
white). When burned again it becomes red oxide (used in painting barns). When
fired again it has the look of a light gray, thus Litharge of silver, when
fired again it becomes a soft yellow in colour,(Litharge of gold). When
Litharge of gold is mixed with one of the above oils and heated between 180 and
200 degrees centigrade the oil begins to smoke and turn brownish. The litharge
at 150 degrees begins to turn into scrap and sticks to the spatula. At
210 degrees the deposits soften and mixes with the oil. At 250 the lead is
permanently suspended in the oil and the colour is of clear brown coffee. It is
the black oil developed during the 1400 century. I can't caution you enough
about the danger of lead poisoning.
"The cloth was water-proofed by coating it with a boiled linseed and
"litharge of gold" After several coats of the oil preparation
were dry, the cloth was well sealed and remained flexible." 1758.
Oiled Umbrellas
Historically, the Chiang Mai umbrella cluster's central product
is the "oiled umbrella". Oiled umbrellas are made with a carefully
carved bamboo frame, then covered with fine cotton, to which different layers
of waterproofing are applied. While the natural waterproofing method is
regarded as somewhat of a local trade secret, it traditionally includes teak
oil and colour pigment. In the modern, more competitive marketplace, natural
materials may be combined with more easily available synthetic oils and colours.
Thursday, 22 May 2014
The Oilcloth & The Blanket, Questions Answered. Video.
"This morning an account was bro't to town, that
a large army of French
and Indians were seen at a small distance from the
German flats, but few
here believe it. Sir William Johnson is still in
readiness, with 1500 of
the militia. Every man in the French army that came
against Fort William
Henry, was equipped in the following manner, viz. With
two pair of
Indian shoes, 2 pair of stockings, 1 pair of
spatterdashes, 1 pair of
breeches, 2 jackets, 1 large over-coat, 2 shirts, 2
caps, 1 hat, 1 pair
of mittens, 1 tomahawk, 2 pocket-knives, 1 scalping
knife, 1 steel and
flint, every two men an ax, and every four a kettle
and oilcloth for a
tent, with one blanket and a bearskin, and 12 days
provision of pork and
bread; all which they drew on little hand-sleighs."
Extract of a letter from Albany, dated April 2, 1757
printed in the
Boston
Gazette, April 18, 1757.}
Monday, 28 April 2014
More On Oilcloth and Canvas.
.png)
A Detail Taken From David MoMorier’s Showing A Tent Possibly Made of Brown, Unbleached, Linen, c. 1751-1760 (The Royal Collection)
OILCLOTH QUOTES
Canvas
[ca'vas;
canways; canwas; canvis; canvice; canvasse; canvass; canuis]
Nowadays a
strong or coarse unbleached TEXTILE of plain weave made of HEMP or FLAX, mainly
used for ships SAILS, or TENTS, and for artwork like oil PAINTINGS and
TAPESTRY. Although these types of canvas were made throughout the early-modern
period, canvas in the sixteenth century and the early seventeenth was the
principal LINEN textile used for TABLE LINEN, BED LINEN and CLOTHING. In
consequence retailers often stocked several varieties; for example [Inventories
(1589)] had eleven sorts in valuations ranging from 10d to 18d the ELL. That a
canvas seems to have denoted a SHEET at this time, may indicate how common it
was to use this fabric for that purpose. During the seventeenth century its use
on the table became virtually unknown and canvas bed linen also became uncommon
except for use by the lower orders; for example [Inventories (1635)] listed
canvas sheets for the servants. However it continued to be used for UPHOLSTERY
(hence 'Easy Chairs stuffed in canvass') and for clothing to some extent. In
this context a list prepared in the late seventeenth century of clothing
necessary for an emigrant to America illustrates how canvas could be used, and
how it compared with other TEXTILES. [Diaries (Josselyn)] recommended for each
man a FRIEZE suit costing 19s, a CLOTH one at 15s and one of canvas at 7s 6d,
along with a pair of canvas SHEETs costing 8s, and seven ells of coarse canvas
to make a bed at sea for two men at 5s. At this time, there was quite a range
of values given for canvas in the shops from as low as 6d up to 16d the YARD;
somewhat lower than in the pre-Restoration period. Surprisingly, in none of the
advertisements for runaways noted in eighteenth-century provincial newspapers
did any of them wear garments made of canvas, though some retailers offered
READY MADE canvas clothing for sale. Prices and valuations continued to fall
after 1700 to as low as 4d the yard, but fine canvas continued to command high
prices. Interest in canvas and the variety of uses to which it was put are
reflected in several patents that claimed to prepare it for painting or as a
wall HANGING, and for reducing the nuisance of mildew on SAILs by a process
akin to tanning.
Types of
Canvas were often designated by the town or region from whence they were
originally imported, hence HESSIAN CANVAS, QUEENSBOROUGH CANVAS, SPRUCE CANVAS,
VITRY CANVAS etc., although they appear in the Dictionary Archive in
insufficient numbers to differentiate the one from the others in terms of
quality. Most are found only in the early part of the period.
OED earliest
date of use: 1260
Found
described as BROAD, BROWN, COARSE, COLLAR, COLOURED, for CROSS STITCH, CUSHION,
ELBING, ELL BROAD, DUTCH, ENGLISH, FINE, FLANDERS, FRENCH, Gound, GREEN, GREY,
HOMEMADE, HOUSEWIFE, for a kitchen table, middling, NARROW, NORMANDY, NORTHERN,
PACKING, PAINTED, QUILTED (with SILK), ROAN, SAIL, SAMPLER, of Shropshire
making, STAY, STRIPED(with SILK, THREAD), THIN, TROYES, WHITE, YORKSHIRE Found
describing CLOTH, SHEETING, YARN Found used to make APRON, BAG, BED at sea, board
cloth, BODICE, BOLSTER, BREECHES, DOUBLET, DRAWERS, FROCK, HANGING, LINING,
MATTRESS, NAPKIN, PACK CLOTH, PILLOW BERE, SHEET, SHIRT, STAYS, SUIT,
TABLECLOTH, TESTER, TILT, TOWEL, TWILLY, VALISE, WINDOW BLIND Found imported
from Dantzick, Germany, Holland Found measured in the shops by BALE, BALLET,
ELL, PIECE, SMALL - BOLT, YARD Found rated by the BALE or BOLT, ELL, 100 ELL,
PIECE
See also
BARRAS, CUSHION CANVAS, HOLLANDS DUCK, MILDERNIX, POLDAVY, SAILCLOTH, TUFTED
CANVAS, VANDELAS, WORKING CANVAS, YELLOW CANVAS.
Sources: Acts, Diaries, Houghton, Inventories (early), Inventories (mid-period), Inventories (late), Newspapers, Patents, Rates, Tradecards.
Sources: Acts, Diaries, Houghton, Inventories (early), Inventories (mid-period), Inventories (late), Newspapers, Patents, Rates, Tradecards.
The famous sailor Captain John Smith wrote (OED):
“Wee did hang an awning (which is an old saile) to… trees to shadow us from the
Sunne” (1624) and “A tar-pawling; or yawning” (1626)...
"3 ells of linen for a tarpaulin"
~ Engage Francois Trotie, Montreal purchase, 1735 (Johnson, 5)
~ Engage Francois Trotie, Montreal purchase, 1735 (Johnson, 5)
"It rained heavily all night…We had to cover the pelts and the merchandise with
the tarpaulin."
~ J. Dufaut, Manitoba, 1804 (Dufaut, 26)
"Their Bales are covered with light raven duck, or Russia Cloth; ours on the
contrary have heavy rotten Canvas…They have coverings of Russia Cloth, or
raven duck painted, to keep their Goods dry in their Battaux or canoes, we have
nothing at all…"
Hutchins, 1781 ( ,358)
"Made of Russia sheeting in a piece which is 30 ells long. Each oil cloth must
contain 3 breadths of the sheeting 3 1/3 ells long, consequently there are three
oil cloths in each piece. Please observe likewise they must have two coats of
Spanish Brown paint…"
~ William Grant, Montreal, 1793 (Engage, 2-3)
"… canoe coverings of raven-duck oiled and painted."
Hudson Bay Company oilcloth from an 1817 ledger (Engage, 3)
"…I made a Lodge with an oilcloth near the small Lac de la puise on the
portage."
~ Jean Baptiste Perrault, Minnesota, 1784 (Perrault, 521)
"When we perceived the approaching storm, we fixed our thin light oil-cloth to
screen us from it."
~ Alexander Mackenzie, Route to the Pacific, 1793 (Mackenzie, 205)
"…it is only by means of our Oil Cloth we can preserve the property from getting
wet."
~ Alexander Henry (younger), Park River, 1800 (Gough, 74)
"…spreading our oil cloth, which was our flooring. Our beds, consisting of 4
excellent blankets sowed up in sheeting, like a mattress, & 2 to cover us all
rolled in a piece of oil cloth, served us for seats."
~ George Nelson, Wisconsin, 1802 (Nelson, 35)
"In this section of the fort were also various other buildings…an oil-house
where oilcloths were made with whale oil for the cargoes…"
~ L. Hargrave, York Factory, 1840 (MacLeod, xli)
Historical Documentation of Oilcloths:
A letter from George Morgan to his wife, June 28, 1766: "I sit quite comfortable
on boar my Boat, over the Stern of which I have Hoops & an Oil Cloth on them,
with Curtains of the same to let down before & behind." Carter and Alvord (ed);
tHE nEW rEGIME: 1765-1767; ppg 313-14 as quoted by Baker M: SONS OF A TRACKLESS
FOREST.
From Devereaux Smith's journal (Baynton, Wharton and Morgan Papers, roll #6,
frame 870, Penn. State Archives) "I found a packet on Board which I brought with
me & an Indian's powder Horn -- I made fast the Boat to a Tree, and packed up
the Goods together in her,-- Nailing a couple of Oil Cloaths over them in the
best Manner I coud,..."
A letter from George Morgan to his wife, June 28, 1766: "I sit quite comfortable
on boar my Boat, over the Stern of which I have Hoops & an Oil Cloth on them,
with Curtains of the same to let down before & behind." Carter and Alvord (ed);
tHE nEW rEGIME: 1765-1767; ppg 313-14 as quoted by Baker M: SONS OF A TRACKLESS
FOREST.
From Devereaux Smith's journal (Baynton, Wharton and Morgan Papers, roll #6,
frame 870, Penn. State Archives) "I found a packet on Board which I brought with
me & an Indian's powder Horn -- I made fast the Boat to a Tree, and packed up
the Goods together in her,-- Nailing a couple of Oil Cloaths over them in the
best Manner I coud,..."
Anburey, Thomas; "Travels Through the Interior
Parts of America in a
Series of Letters by an Officer." 2 Vols. London,
1789. Houghton
Mifflin, NY 1923, Reprint, New York Times and Arno
Press, 1969.
Burgoyne's Expedition, 1777.
Thomas Anburey, Volunteer and Ensign, 29th and 24th
Regiments of Foot:
"Cambridge, in New England, Nov. 17, 1777...
The men were so harassed and fatigued with continually
sitting and
lying on the ground, all huddled in a small compass,
that three days
before the convention took place, they complained to
the Captain who
commanded, that they were not permitted to fire on the
enemy, whereby
they could obtain more ease, and therefore ought to be
relieved, and
they received for an answer, when night came on it
should be mentioned
to the General. The Captain desired me to go to
head-quarters, and
when I arrived there, I found they partook of the
hardships in common,
for the three Generals had just laid down on their
matrasses, having
only an oil-skin to cover them from the weather; the
Aid-de Camps were
sitting round a fire. ..."
Anburey, 2, p. 8-9.
"Cambridge, in New England, Nov. 20, 1777...
We were two days in crossing the Green Mountains,
which are a part of
the chain of mountains that run through the whole
Continent of
America, more commonly known by the name of the
Allegheny Mountains:
the roads across them were almost impassable, and to
add to the
difficulty, when we got half over, there came on a
heavy fall of snow.
After this, it is impossible to describe the confusion
that ensued;
carts breaking down, others sticking fast, some
oversetting, horses
tumbling with their loads of baggage, men cursing,
women shrieking,
and children squalling! It should seem that I was to
encounter every
unpleasant duty
that can fall to the lot of an officer, for this day I
had the baggage guard; exclusive of being covered with
snow, and
riding about after the bat-men, to keep them together,
and to assist
each other, my attention was directed to a scene,
which I did not
think it was possible human nature could have
supported, for in the
midst of a heavy snow-storm, upon a baggage-cart, and
nothing to
shelter her from the inclemency of the weather but a
bit of an old
oil-cloth, a soldier's wife was delivered of child,
she and the infant
are both well, and are now at this place. It may be
said, that women
who follow a camp are of such a masculine nature, they
are able to
bear all hardships; this woman was quite the reverse,
being small, and
of a very delicate constitution." Anburey, 2, p.
24-25.
The Calendar and Quartermaster Books of General George
Rogers Clark's
Fort Jefferson, Kentucky, 1780
Stores issued by order of Captain Robert George: to
Mr. Miles,
quartermaster Sergeant, one musket or smoothed gun; to
Captain Rogers
going to the Falls of Ohio, two muskets or smoothed
guns and five tents
or oil cloths (VSA-50: 39)
also refs to Oil cloths or Spanish tents (from New
Orleans)
Extract of a letter from Albany, dated April 2, 1757
printed in the
Boston Gazette, April 18, 1757.}
"This morning an account was bro't to town, that
a large army of French
and Indians were seen at a small distance from the
German flats, but few
here believe it. Sir William Johnson is still in
readiness, with 1500 of
the militia. Every man in the French army that came
against Fort William
Henry, was equipped in the following manner, viz. With
two pair of
Indian shoes, 2 pair of stockings, 1 pair of
spatterdashes, 1 pair of
breeches, 2 jackets, 1 large over-coat, 2 shirts, 2
caps, 1 hat, 1 pair
of mittens, 1 tomahawk, 2 pocket-knives, 1 scalping
knife, 1 steel and
flint, every two men an ax, and every four a kettle
and oilcloth for a
tent, with one blanket and a bearskin, and 12 days
provision of pork and
bread; all which they drew on little hand-sleighs."
"...tarpaulins for covering the
provisions and oilcloths to cover the gunpowder."
~ Antoine Laumet de Lamothe Cadillac, Memorial to the Council, 1719 (Kent 2001, 71 )
"They name prelat a large and heavy cloth, oil-painted in red, to keep oneself from the rain."
~ Louis Franquet, French Military Engineer, 1752 (Delisle, 17 )
"A course linen painted red with oil, with which we cover the [canoe cargo] as further protection against the rain."
~ Louis Franquet, French Military Engineer, 1752 (Kent 2001, 71 )
"1 Oilcloth for every 4 men for tentage..."
~ Anonymous list of supplies for French Army in Canada, 1756 (Delisle, 42)
“…I made a Lodge with an oilcloth near the small Lac de la puise on the portage.”
~ Jean Baptiste Perrault, Minnesota, 1784 (Perrault, 521 )
“… we perceived the approaching storm, we fixed our thin light oil-cloth to screen us from it.” Journey of a Voyage through the north west continent of America. By Sir Alexander Mackenzie.
~ Antoine Laumet de Lamothe Cadillac, Memorial to the Council, 1719 (Kent 2001, 71 )
"They name prelat a large and heavy cloth, oil-painted in red, to keep oneself from the rain."
~ Louis Franquet, French Military Engineer, 1752 (Delisle, 17 )
"A course linen painted red with oil, with which we cover the [canoe cargo] as further protection against the rain."
~ Louis Franquet, French Military Engineer, 1752 (Kent 2001, 71 )
"1 Oilcloth for every 4 men for tentage..."
~ Anonymous list of supplies for French Army in Canada, 1756 (Delisle, 42)
“…I made a Lodge with an oilcloth near the small Lac de la puise on the portage.”
~ Jean Baptiste Perrault, Minnesota, 1784 (Perrault, 521 )
“… we perceived the approaching storm, we fixed our thin light oil-cloth to screen us from it.” Journey of a Voyage through the north west continent of America. By Sir Alexander Mackenzie.
“3 ells of linen for a tarpaulin”
~ Francois Trotie, Montreal purchase, 1735 (Johnson, 5)
~ Francois Trotie, Montreal purchase, 1735 (Johnson, 5)
Oilcloth
The oilcloth or among the French termed such as; toile ciree or prelat, was a popular defense against moisture in living history. This item runs the gamut of uses and its history is deserving of an entire article. Oilcloth is basically a piece of fabric, saturated with oil and at times containing a pigment.
"...tarpaulins for covering the provisions and oilclothes to cover the gunpowder."
~ Antoine Laumet de Lamothe Cadillac, Memorial to the Council, 1719 (Kent 2001, 71 )
"They (Canadians) name prelat a large and heavy cloth, oil-painted in red, (..) to keep oneself from the rain."
~ Louis Franquet, French Military Engineer, 1752 (Delisle, 17 )
"A course linen painted red with oil, with which we cover the [canoe cargo] as further protection against the rain."
~ Louis Franquet, French Military Engineer, 1752 (Kent 2001, 71 )
"1 Oilcloth for every 4 men for tentage..."
~ Anonymous list of supplies for French Army in Canada, 1756 (Delisle, 42)
“…I made a Lodge with an oilcloth near the small Lac de la puise on the portage.”
~ Jean Baptiste Perrault, Minnesota, 1784 (Perrault, 521 )
“… we perceived the approaching storm, we fixed our thin light oil-cloth to screen us from it.”
By the 18th century large-scale oilcloth production was in use for roof and floor coverings in Europe. These “floor cloth” factories were operating in England by 1740. Linen or hemp cloth was the primary fabric used. Silk and cotton has also been mentioned as fabric for production of oilcloth, this being used for waterproof clothing manufactured more commonly in the second half of the 19th century (Cunnington & Lucas, 61). Oilcloth used in the Great Lakes fur trade did not differ much from these products. We know oilcloths were both ordered and produced on site for its use in the trade. Looking at some old journals and letters, and knowing the rough use it will occur, oilcloths of the trade may have been commonly made of a stout material.
"...account book of Canadian trader Forest Oakes includes a listing of silverworks, a spontoon, 2 sails and an "oil cloth" delivered to Grand Portage in 1771."
~ Fur Trade Oil Cloths in Museum of the Fur Trade Quarterly, Engages, 2)
“Their Bales are covered with light raven duck, or Russia Cloth; ours on the contrary have heavy rotten Canvas…The[y] have coverings of Russia Cloth, or raven duck painted, to keep their Goods dry in their Battaux or canoes, we have nothing at all…”
Thomas Hutchins HBC, York Factory, 1781 (Rich, 358 )
“Made of Russia sheeting in a piece which is 30 ells long. Each oilcloth must contain 3 breadths of the sheeting 3 1/3 ells long, consequently there are three oil cloths in each piece. Please observe likewise they must have two coats of Spanish Brown paint…”
~ William Grant, Montreal, 1793 (Engage, 2-3)
Raven duck was cloth used for sails, hammocks, trousers and tents. The term “ Duck” originally refers to the type of weave used in canvas production. Originally, duck may have also been a lighter weight canvas as opposed to a more stout canvas. Duck canvas, originally of linen or hemp, developed into mostly cotton sometime around 1790. Certain canvas today have even acquired the name "duck" from simply having a treatment applied to it.
Russia sheeting is a medium weight, woven canvas cloth, primarily of hemp. Hemp seems to have been used by the French while some of the British canvas was linen (flax), though both countries mills varied. This is the “R.S.” found in Northwest Company journals for flour sacks, trousers and lead ball/shot bags. Russia/Asia has always been known as a great bast-fiber producing area. Importation of hemp fiber and cloth began early in this region, hence the term russia-sheeting.
The term oilcloth can be easily confused with sailcloth’s and/or tarpaulins. According to the 1867, Sailors Word Book, tarpaulin is: “canvas well covered with tar or paint to render it waterproof” it also adds, “If tar is not used but it is painted, let it be know simply as ‘paulin’ or oil cloth.” So at times, we may be talking about the same item.
Looking at Montreal merchant records of 1735 we find “linen for tarpaulins” being purchased in the amount of 3 French ells (Johnson, 4), a single French ell or aune measured 3 feet 8 inches. Montreal merchant Maurice-Regis Blondeau sewed and waterproofed his own tarpaulin of Russia-sheeting in 1780 as his canoes were being prepared to leave Montreal under the leadership of trader Jean-Baptiste Cadot (White 183-`84). Following are a few examples of the term tarpaulin used.
“3 ells of linen for a tarpaulin”
~ Francois Trotie, Montreal purchase, 1735 (Johnson, 5)
“…rained heavily all night…had to cover the pelts and the merchandise with the tarpaulin.”
~ J. Dufaut, Manitoba, 1804 (Dufaut, 26)
By 1823 a new type of waterproof fabric was making an appearance. The India rubber variety of fabric was developed and patented by Charles MacIntosh. The Fur Trade, though waning was still active, was this new discovery much in use in the Northwest?
“Two suits for each of the party, a summer and winter dress to be made uniformly, and of the waterproof Cloth prepared by Mr. McIntosh.”
~ John Franklin, Canadian Expedition request, 1824 (Franklin, 289)
(An ell (from Old Germanic *alinâ cognate with Latin "ulna")[1] is a unit of measurement, originally a cubit, i.e., approximating the length of a man's arm from the elbow ("elbow" means the bend or bow of the ell or arm) to the tip of the middle finger, or about 18 inches; in later usage, any of several longer units.[2][3] In English-speaking countries, these included (until the 19th century) the Flemish ell (3⁄4 of a yard), English ell (5⁄4 yard) and French ell (6⁄4 yard), some of which are thought to derive from a "double ell") From Wikipedia, the free encyclopedia
More on the sizes of an Ell here: http://www.sizes.com/units/ell.htm
The oilcloth or among the French termed such as; toile ciree or prelat, was a popular defense against moisture in living history. This item runs the gamut of uses and its history is deserving of an entire article. Oilcloth is basically a piece of fabric, saturated with oil and at times containing a pigment.
"...tarpaulins for covering the provisions and oilclothes to cover the gunpowder."
~ Antoine Laumet de Lamothe Cadillac, Memorial to the Council, 1719 (Kent 2001, 71 )
"They (Canadians) name prelat a large and heavy cloth, oil-painted in red, (..) to keep oneself from the rain."
~ Louis Franquet, French Military Engineer, 1752 (Delisle, 17 )
"A course linen painted red with oil, with which we cover the [canoe cargo] as further protection against the rain."
~ Louis Franquet, French Military Engineer, 1752 (Kent 2001, 71 )
"1 Oilcloth for every 4 men for tentage..."
~ Anonymous list of supplies for French Army in Canada, 1756 (Delisle, 42)
“…I made a Lodge with an oilcloth near the small Lac de la puise on the portage.”
~ Jean Baptiste Perrault, Minnesota, 1784 (Perrault, 521 )
“… we perceived the approaching storm, we fixed our thin light oil-cloth to screen us from it.”
By the 18th century large-scale oilcloth production was in use for roof and floor coverings in Europe. These “floor cloth” factories were operating in England by 1740. Linen or hemp cloth was the primary fabric used. Silk and cotton has also been mentioned as fabric for production of oilcloth, this being used for waterproof clothing manufactured more commonly in the second half of the 19th century (Cunnington & Lucas, 61). Oilcloth used in the Great Lakes fur trade did not differ much from these products. We know oilcloths were both ordered and produced on site for its use in the trade. Looking at some old journals and letters, and knowing the rough use it will occur, oilcloths of the trade may have been commonly made of a stout material.
"...account book of Canadian trader Forest Oakes includes a listing of silverworks, a spontoon, 2 sails and an "oil cloth" delivered to Grand Portage in 1771."
~ Fur Trade Oil Cloths in Museum of the Fur Trade Quarterly, Engages, 2)
“Their Bales are covered with light raven duck, or Russia Cloth; ours on the contrary have heavy rotten Canvas…The[y] have coverings of Russia Cloth, or raven duck painted, to keep their Goods dry in their Battaux or canoes, we have nothing at all…”
Thomas Hutchins HBC, York Factory, 1781 (Rich, 358 )
“Made of Russia sheeting in a piece which is 30 ells long. Each oilcloth must contain 3 breadths of the sheeting 3 1/3 ells long, consequently there are three oil cloths in each piece. Please observe likewise they must have two coats of Spanish Brown paint…”
~ William Grant, Montreal, 1793 (Engage, 2-3)
Raven duck was cloth used for sails, hammocks, trousers and tents. The term “ Duck” originally refers to the type of weave used in canvas production. Originally, duck may have also been a lighter weight canvas as opposed to a more stout canvas. Duck canvas, originally of linen or hemp, developed into mostly cotton sometime around 1790. Certain canvas today have even acquired the name "duck" from simply having a treatment applied to it.
Russia sheeting is a medium weight, woven canvas cloth, primarily of hemp. Hemp seems to have been used by the French while some of the British canvas was linen (flax), though both countries mills varied. This is the “R.S.” found in Northwest Company journals for flour sacks, trousers and lead ball/shot bags. Russia/Asia has always been known as a great bast-fiber producing area. Importation of hemp fiber and cloth began early in this region, hence the term russia-sheeting.
The term oilcloth can be easily confused with sailcloth’s and/or tarpaulins. According to the 1867, Sailors Word Book, tarpaulin is: “canvas well covered with tar or paint to render it waterproof” it also adds, “If tar is not used but it is painted, let it be know simply as ‘paulin’ or oil cloth.” So at times, we may be talking about the same item.
Looking at Montreal merchant records of 1735 we find “linen for tarpaulins” being purchased in the amount of 3 French ells (Johnson, 4), a single French ell or aune measured 3 feet 8 inches. Montreal merchant Maurice-Regis Blondeau sewed and waterproofed his own tarpaulin of Russia-sheeting in 1780 as his canoes were being prepared to leave Montreal under the leadership of trader Jean-Baptiste Cadot (White 183-`84). Following are a few examples of the term tarpaulin used.
“3 ells of linen for a tarpaulin”
~ Francois Trotie, Montreal purchase, 1735 (Johnson, 5)
“…rained heavily all night…had to cover the pelts and the merchandise with the tarpaulin.”
~ J. Dufaut, Manitoba, 1804 (Dufaut, 26)
By 1823 a new type of waterproof fabric was making an appearance. The India rubber variety of fabric was developed and patented by Charles MacIntosh. The Fur Trade, though waning was still active, was this new discovery much in use in the Northwest?
“Two suits for each of the party, a summer and winter dress to be made uniformly, and of the waterproof Cloth prepared by Mr. McIntosh.”
~ John Franklin, Canadian Expedition request, 1824 (Franklin, 289)
(An ell (from Old Germanic *alinâ cognate with Latin "ulna")[1] is a unit of measurement, originally a cubit, i.e., approximating the length of a man's arm from the elbow ("elbow" means the bend or bow of the ell or arm) to the tip of the middle finger, or about 18 inches; in later usage, any of several longer units.[2][3] In English-speaking countries, these included (until the 19th century) the Flemish ell (3⁄4 of a yard), English ell (5⁄4 yard) and French ell (6⁄4 yard), some of which are thought to derive from a "double ell") From Wikipedia, the free encyclopedia
More on the sizes of an Ell here: http://www.sizes.com/units/ell.htm
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