GEORGE FIELD CHROMATOGRAPHY:COLOURS-PIGMENT CHEMISTRY/1835/1st Ed.IMPORTANT WORK


GEORGE FIELD CHROMATOGRAPHY:COLOURS-PIGMENT CHEMISTRY/1835/1st Ed.IMPORTANT WORK

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GEORGE FIELD CHROMATOGRAPHY:COLOURS-PIGMENT CHEMISTRY/1835/1st Ed.IMPORTANT WORK:
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VERY RARE - SCARCE FIRST EDITION - FIRST ISSUE
RARE LIMITED EDITION of a CELEBRATED WORK
RARE FIRST EDITION - FINE ORIGINAL GILT BINDING
HAND COLORED ENGRAVED FRONTISPIECE
John Constable and J. M. W. Turner were Subscribers

CHROMATOGRAPHY
or
A TREATISE ON COLOURS AND PIGMENTS AND OF THEIR POWERS IN PAINTING
by
GEORGE FIELD

LONDON: Printed for the author by Charles Tilt, 1835 [published date: 1835]. RARE FIRST EDITION. Folio. 13\" x 9.75\" Inches. (LxB). Pp. xix, (1, blank), 276 pages, illustrated with hand-coloured engraved frontispiece and 1 engraved plate, a clean handsome copy of this masterpiece. Rebound in fine blue cloth binding, with gilt lettering on spine. Rare First edition of the most influential work on colour pigment chemistry written in England in the early 19th century by a leading chemist in the field. \"In many ways, the most useful literary source concerning pigments rather than painting of the period is Field\'s Chromatography, published in 1835. Chromatography was the culmination of Field’s many years of color experiments and manufacture. The first part of Chromatography is concerned with colour theory, followed by a section in which the nature and composition of individual pigments are discussed. The last part contains some comments on oils, varnishes and picture cleaning. From an historical point of view an important feature of the first edition is the inclusion of a large number of pigments, no matter how obscure, so that the book fills the gaps left by most of the early 19th-century books on painting.\" - R. D. Harley, Artists\' pigments, pp. 27-28. A classic work. There are numerous close-up pictures of the contents given below; please click on them for a detailed description (See Scans below). Please take some time to view the 50+ pictures in detail, in order to gain a full idea of the contents and condition.

Among the List of subscribers are; John Constable and J. M. W. Turner among others.

George Field’s Chromatography, or, A Treatise on Colours and Pigments, and of Their Powers in Painting &c., (London, January 1835), a seminal nineteenth-century text in color theory, helped alter the course of British painting aesthetically and practically. (See Fig. 1.) Chromatography, in which Field shares his fullest knowledge about available colors, is less important for its theory of primaries than for its technological basis and advice. At a time of great expansion in the visual arts, painters had become easy prey to retail color sellers who did not purvey pigments of superior quality. Field, however, was determined to buttress his theories with reliable information about light-fast, durable pigments, based on his own scientific experiments and manufacturing processes.The principal object of the present treatise is, therefore, by pointing out the true character and powers of colours and pigments, to enable the student to choose and employ judiciously those which are best adapted to his purpose, and thereby to prevent the too frequent disappointment of this hopes and endeavours by a failure at the very foundation of his work. As colours or pigments refer to the various modes in which painting is practised, and as these modes differ most essentially in the mechanical application of colours, in their chemical combinations, and in the purposes to which they are applied, - the chemical and mechanical properties of pigments have been indicated herein, and the appropriate application of each pointed out, so far as to enable the student in each mode to make his own selection\" (Preface). There were three later editions [1841, 1869 and 1885] and a German translation in1836, but this first edition is rare, with OCLC listing only 10 copies worldwide, of which only 5 are in the US. Abbey, Life 123.. Color -- Study and teaching. Color -- Charts, diagrams, etc., Essay on the analogy and harmony of colours. Field\'s Harmony of colours. Harmony of colours. Creator: Field, George, 1777?-1854. Contributors: Valpy, Abraham John, 1787-1854, printer. [link removed by ]

George Field

The Art-lover, Technologist, Inventor, Color-maker, Theorist,chemist George Field constructed acolour-circle from the basic colours of red, yellow and blue, thus wishing to take up a position opposed to Newton. Secondary and tertiary colours arise through progressive superimposition. Meanings were allocated to the colours: hot (red) and cold (blue) stand opposite one another; likewise advancing and retiring. George Field also saw a connection between colour and sound, and so draws our attention to one of the stumbling blocks of the era: namely, an understanding of the carrier medium of light. (Detailed text) Throughout his life, the chemist George Field (1777-1854) occupied himself not only with the practical aspects of pigments and dyes, but also with the theory of their harmonic relationship. In Chromatics, his first work, an essay written in 1817 on the «Analogy and Harmony of Colours» used the three subtractive primary colours red, yellow and blue, and was concerned with the arrangement of a colour harmony as an «aesthetic analogy» of the musical harmony system. In his essay, Field describes a «metrochrome», an equivalent of the musical metronome comprising three calibrated wedge-shaped glass vessels filled with red, yellow and blue liquids. For our purposes, it is enough to appreciate the reason for the many numbers in his system, without the need for understanding each one individually. In his «Chromatography» of 1835 — a title sounding to our modern ears like a scientific method — a second discourse on colours and pigments appeared, featuring the «colour-compass» shown. His compilation «A grammar of Colouring» followed, which was chiefly intended for artists, providing them with information on the origin, composition and properties of pigments, dyes and paints. In all three works, Field establishes a link with the works ofJakob Christof Le Blon, who in 1730 had put forward a colour-circle of the three «primitive» colours red, yellow and blue, and the three mixed colours orange, green and purple (thus taking up a position opposed to Newton). Field declared thesix colours of his circle to be primary colours, from which the secondary and tertiary colours arise through gradual change. Whilst Field characterised his secondary colours simply by using double names and saw the three tertiary colours as dark (dk) variations of the mixed colours already mentioned, three special names appear in his colour compass: the mixture of purple, blue and green is called «olive»; the mixture of green, yellow and orange is called «citron»; and the mixture of orange, red and purple is called «russet». [link removed by ]

[link removed by ]

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CONDITION REPORT: A rare Ex-Lib. book rebound in blue cloth binding, with gilt lettering on spine (See Scans below), with very minor wear/tear to covers, spine ends & corners (See Scans below), pages-plates are clean & bright (See Scans below), the binding is tight & intact (See Scans below). The cloth is smooth & supple to the touch (See Scans below). Note: Apart from the number on the spine, & small round blind stamps on the blank margins of the first 3 leaves, there are no other Lib. marks (See Scans below). (See Scans below). A scarce title. See, click & enlarge the 100+ pictures below to get a better idea of condition etc. There are many close-up pictures for your kind perusal. Please click on any of the 50+ images above & below in the listing for enlarged close-up pictures of details, virtues & flaws (See Scans below).


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GEORGE FIELD CHROMATOGRAPHY:COLOURS-PIGMENT CHEMISTRY/1835/1st Ed.IMPORTANT WORK:
$2499.00

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