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.
http://cool.conservation-us.org/jaic/articles/jaic38-01-007.html
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.
http://www.buildingconservation.com/articles/paint/paint.htm

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.
http://ranawayfromthesubscriber.blogspot.com.au/

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_1000230154/4
05

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.
http://www.bamboorodmaking.com/html/finishing_-_varnish_-_formulas.html

Drying Oils. http://books.google.com.au/books?

id=2VAPAQAAMAAJ&pg=PA147&lpg=PA147&dq=boiled+linseed+and+%22litharge+of+gold
%22&source=bl&ots=Hq4R4NWpeF&sig=nHRdotEdhLgn-
iqtJlWyKgoE8PY&hl=en&sa=X&ei=7CzgU6CKEIzl8AWKlILYBw&ved=0CEkQ6AEwBQ#v=onepage
&q=boiled%20linseed%20and%20%22litharge%20of%20gold%22&f=false

"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.
http://pyracy.com/index.php/topic/8110-weatherproofing-a-felt-tricorn/page-2

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:
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.
http://www.chiangmaiumbrellas.com/about/oiled-umbrellas
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
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.comhttp://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.).