Bibliography

  • Alexandre, Alain and Croguennec, Michel, Histoires d’usines 180 ans de vie industrielle dans l’agglomération rouennaise, Nolléval, Éditions L’Écho des vagues, 2013.

  • Ball, Philip, Bright Earth: The Invention of Colour, London, 2001.

  • Barnard, George, The Theory and Practice of Landscape Painting in Water-Colours, London, 1858.

  • Briot, Eugénie. « Imiter les matières premières naturelles. Les corps odorants de synthèse, voie du luxe et de la démocratisation pour la parfumerie du XIXe siècle », Entreprises et histoire, Vol. 78, N°1, 2015, pp. 60-73.

  • Burnet, John, Practical Hints on Colour in Painting, 1828.

  • Carlyle, Leslie, ‘Authenticity and Adulteration: What Materials Were 19th Century Artists Really Using?’, The Conservator 17/1, 1993, pp.56–60.

  • Carlyle, Leslie, The Artist’s Assistant Oil Painting Instruction Manuals and Handbooks in Britain, 1800–1900, with Reference to Selected Eighteenth-Century Sources, London, 2001.

  • Cesaratto A., Lombardi J., Leona M., Journal of Raman Spectroscopy, 48/3, 2016.

  • Chadwick, W.J., The Magic Lantern Manual, London: Frederick Warne and Co., 1878, pp. 126-128.

  • Chevalier, Michel, Rapports des membres de la section française du jury international sur l'ensemble de l’exposition, Paris, N. Chaix, 1862-1864.

  • Chevreul, Michel Eugène, De la loi du contraste simultané des couleurs, Paris, Pitois-Levrault & Co, 1839. https://archive.org/details/delaloiducontras00chev/mode/2uphttps://archive.org/details/lawscontrastcol00chevgoog/mode/2up

  • Chevreul, Michel-Eugène, « Note sur les étoffes de soie teintes avec la fuchsine et réflexions sur le commerce des étoffes de couleur », Compte Rendu des séances de l'Académie des Sciences, 16 July 1860, LI, p. 73-79. https://gallica.bnf.fr/ark:/12148/bpt6k30082/f74.item

  • ‘Class II “Chemical Processes and Products”’, Reports by the juries on the subjects in the thirty-six classes into which the exhibition was divided, England: Printed for the Society of arts by Willian Clowes & Sons, 1863. https://babel.hathitrust.org/cgi/pt?id=uiug.30112078728729&view=1up&seq=75&q1=Class%20II

  • 'Class XXIII "Woven, Spun, Felted & laid Fabrics when Shown as Specimens of printing & Dyeing", Reports by the juries on the subjects in the thirty-six classes into which the exhibition was divided, England: Printed for the Society of arts by William Clowes & Sons, 1863. https://babel.hathitrust.org/cgi/pt?id=uiug.30112078728729&seq=843&q1=class+XXIII

  • Cook, E. T., and Alexander Dundas Ogilvy Wedderburn (ed.), The Complete Works of John Ruskin (Library Edition), 39 vol., London: George Allen, 1903. https://www.lancaster.ac.uk/the-ruskin/the-complete-works-of-ruskin/

  • Coombs, James H. (ed.), A Pre-Raphaelite Friendship: The Correspondence of William Holman Hunt and John Lucas Tupper, Ann Arbor, MI: UMI Research Press, 1986.

  • Cosgrove, Denis E., ‘John Ruskin and the Geographical Imagination’, Geographical Review, Vol. 69, N°1, 1979, pp. 43-62. https://doi.org/10.2307/214236

  • Cozens, Alexander, A New Method of Assisting the Invention in Drawing Original Compositions of Landscape, London, 1785.

  • Crace, John Gregory, 'On the Decoration of the International Exhibition Building', Journal of the Society of Arts, Vol. 10, N°490, 11 April 1862, pp. 339-43. https://archive.org/details/jstor-41323696/page/n3/mode/2up

  • Dépierre, Joseph, Traité de la teinture et de l'impression des matières colorantes artificielles. Les couleurs d'aniline, Paris, Baudry &Cie, 1891, p. 77.

  • Ich sehe was, was du nicht siehst!: Sehmaschinen und Bilderwelten : die Sammlung Werner Nekes, edited by Bodo Dewitz and Werner Nekes, Cologne: Museum Ludwig, 2002, pp. 174-175.

  • Dootson, Kirsty Sinclair, The Rainbow’s Gravity: Colour, Materiality and British Modernity, London: Paul Mellon Centre for Studies in British Art, 2023, pp.28-32

  • Dumas, Jean-Baptiste, and Jean-François Persoz, ‘Note sur une peinture murale du XIIIe siècle trouvée à la Sainte-Chapelle’, Comptes rendus hebdomadaires des séances de l’Académie des sciences, Paris, Bachelier, 10 November 1851, p. 509-514. https://gallica.bnf.fr/ark:/12148/bpt6k29901/f511.item.

  • Eastlake, Charles, Materials for a History of Oil Painting, London: Longman, Brown, Green & Longmans, 1847. https://archive.org/details/materialsforahi03eastgoog/mode/2up

  • Anon., ‘Scientific and Useful’, Family Herald, Vol. 17, N° 840 (4 June 1859), pp. 78.

  • Ferrand, Étienne, Influence sur la santé publique de la fabrication de l'aniline et des produits qui en dérivent, Lyon, Aimé Vingtrinier, 1866. https://gallica.bnf.fr/ark:/12148/bpt6k64727872.r=%22fuchsine%22?rk=386268;0

  • Ferry, Kathryn, ‘Printing the Alhambra: Owen Jones and Chromolithography’, Architectural History, 2003, pp. 175-188 (pp. 177 for the quotation).

  • Field, George, Chromatography; or, A Treatise on Colours and Pigments, and of Their Powers in Painting, London: Charles Tilt, 1835. https://archive.org/details/gri_c00033125008687523/mode/2up

  • FitzHugh, Elisabeth West (ed.), Artists’ Pigments Vol. 3: A Handbook of Their History and Characteristics, Washington, 1997.

  • Gartside, Mary, An Essay on Light and Shade, on Colours, and on Composition in General, London, 1805.

  • Gartside, Mary, An Essay on a New Theory of Colours, and on Composition in General, illustrated by Coloured Blots Shewing the Application of the Theory to Composition of Flowers, Landscapes, Figures, &c., 2nd ed., London, 1808.

  • Gettens, Rutherford John, and George Leslie Stout, Painting Materials, New York, 1966.

  • Girard, Charles, “Emploi de certaines essences artificielles”, Le génie industriel, Vol. 9, 1855, pp. 342.

  • Girard, Charles, and De Laire, Traité des dérivés de la houille applicables à la production des matières colorants, Paris, Masson, 1873, pp. VII.

  • Goodridge, David M.G., ‘Warders Medical Centre: The History of a practice in Tonbridge and Penshurst’, 2021, pp. 4-13

  • Gorham, John, Unfrequented Paths in Optics, London: Samuel Highley, 1855.

  • Gorham, John, ‘The Rotation of Coloured Discs applied to facilitate the Study of the Laws of Harmonious Colouring, and to the Multiplication of Images of Objects into Kaleidoscopic Combinations’, Quarterly Journal of Microscopical Science, Vol. 7, N°1, January 1859, pp. 69-78.

  • Gorham, John, ‘The Kaleidoscopic Colour-Top’, Recreative Science: A Record and Remembrancer of Intellectual Observation, Vol. 1, 1860, pp. 89-93.

  • Gorham, John, The Rotation of Coloured Discs. Applied to facilitate the Study of the Laws of Harmonious Colouring, by the Multiplication of Images of Objects into Kaleidoscopic Combinations, London: Robert Hardwicke, 1861.

  • "Gottfried Semper. Habiter la couleur", Gradhiva, N°25, 2017.

  • Gril-Mariotte, Aziza, Les indiennes. La création des toiles imprimées, des Indes aux manufactures alsaciennes (XVIIIe-XIXe siècles). Suivi de l'édition du manuscrit écrit par Jean Ryhiner, à partir de 1766, Milan, Silvana Editoriale, 2022.

  • Hamerton, Philip Gilbert, “The Artistic Spirit”, Fortnightly Review 1 (June 15, 1865): 341.

  • Hau, Michel, L’industrialisation de l’Alsace (1803-1939), imprimerie Louis-Jean, Gap, 1987.

  • Helmholtz, Hermann von, Ueber die Theorie der zusammengesetzten Farben, Berlin: Unger, 1852. https://archive.org/details/bub_gb_UYAZAAAAYAAJ/mode/2up

  • Helmholtz, Hermann von, Handbuch der Physiologischen Optik, Leipzig: Leopold Voss, 1867, pp. 347-351. https://archive.org/details/handbuchderphysi00helm/mode/2up

  • Hendrie, Robert (ed. and trans.), An Essay upon Various Arts in Three Books by Theophilus Called Also Rugerus, London: John Murray, 1847. https://archive.org/details/essayuponvarious00hend/mode/2up

  • Hickox, Michael, ‘John Brett and Ruskin’, The Burlington Magazine, Vol. 138, N°1121, 1996, pp. 521-525. https://www.jstor.org/stable/887103

  • H.M. Stationary Office, English Patents of Inventions, Specifications: 1858, London: Eyre and Spottiswood, N°806, 1858.

  • Hofmann, August Wilhelm, de Laire Georges, Girard Charles, Matières colorantes dérivées de la houille. Rapports du jury international, Paris, P. Dupont, 1867.

  • Hunt, Edmund, ‘On the Cinephantic Colour Top’, The Artizan: a Monthly Record of the Progress of Civil and Mechanical Engineering, Shipbuilding, Steam Navigation, the Application of Chemistry to the Industrial Arts, &c., Vol. XVIII, 1 January 1860, pp. 21-22.

  • Hunt, William Holman, ‘The Present System of Obtaining Materials in Use by Artist Painters, as Compared with That of the Old Masters’, The Journal of the Society of Arts 28, N°1431, 1880, pp. 473–502.

  • Jacobi, Carol, William Holman Hunt – Painter, Painting, Paint, Manchester, 2007.

  • Jones, Owen, Plans, Sections, Elevations and Details of the Alhambra, 1836-45.

  • Jones, Owen, Grammar of Ornament, London: Published by Day & Son, 1856. https://archive.org/details/grammarornament00Jone/mode/2up

  • Jones, Owen, The History of Joseph and His Brethren, London: Day & Son, 1865.

  • L’Éclipse, journal hebdomadaire, 8 October 1876, p. 114. https://gallica.bnf.fr/ark:/12148/bpt6k5491777q/f2.item

  • Anon., ‘Catalogue of the Eleventh Annual Exhibition of Inventions. Being a Collection of Articles, Recently Invented, Patented, or Registered, Exhibited at the Society of arts, Adelphi, during the Spring of, 1859’, Journal of the Society of Arts, Vol. 7, N° 335, 22 April 1859, pp. 347-412.

  • Katz, Melissa R., ‘William Holman Hunt and the ‘Pre-Raphaelite Technique’, in eds. Arie Wallert, Erma Hermens, and Marja Peek, Historical Painting Techniques, Materials, and Studio Practice: Preprints of a Symposium, Los Angeles, 1995.

  • Kirkes, William Senhouse and James Paget, Hand-Book of Physiology, 2nd edition, London: Taylor, Walton, & Maberly, 1855.

  • Lane, Edward William, An Account of the Manners and Customs of the Modern Egyptians, 1836.

  • Le Gall, Shalini, ‘Evangelical Imperialism: Holman Hunt and Religious Painting in the Middle East’, PhD diss., Northwestern University, 2009.

  • Levitt, Teresa, Elixir: A Parusian Perfume House and the Quest for the Secret of Life, Cambridge, Harvard University Press, 2023.

  • Longoni M., Gavazzi M., Monti D., Bruni S., Journal of Cultural Heritage 59, 2023, pp.131–139.

  • Loske, Alexandra, ‘Mary Gartside: A Female Colour Theorist in Georgian England’, St Andrews Journal of Art History and Museum Studies, Vol. XIV, 2010, pp. 17–30.

  • Loske, Alexandra, ‘“Miss Gartside’s Immediate Eye”: An Examination of Mary Gartside’s Publications on Colour Between 1805 and 1808 in the Context of Illustrated Colour Literature and Paint Manuals of the Early Nineteenth Century’, in Colour Studies: A Broad Spectrum, ed. Wendy Anderson et al., Amsterdam and Philadelphia, 2014.

  • Loske, Alexandra, ‘Trois femmes cherchent la quadrature du cercle chromatique vers 1800–1930/Three Women Squaring the Colour Circle between ca. 1800 and 1930’, in Under the Rainbow, ed. Tatiana Rhis, Lausanne, 2018.

  • Loske, Alexandra, Colour: A Visual History, London, 2019.

  • Loske, Alexandra (ed.), A Cultural History in the Age of Industry, Vol.5, London, New York, Oxford, New Delhi, Sydney, 2021.

  • Loske, Alexandra, Mary Gartside (c.1755-1819): Abstract Visions of Colour, Thomas Heneage/Paul Holberton, 2024.

  • Loske, Alexandra, The Book of Colour Concepts, Cologne, 2024.

  • Loske, Alexandra, ‘From here to infinity: blots, dots and spots in colour history’, in Volley, Jo (ed.), Colour & Poetry: A Symposium V, Slade Press, 2024.

  • Frescobaldi Malenchini L., Rucellai O. (eds), The Revival of Italian Maiolica: Ginori and Cantagalli, Edizioni Polistampa, Firenze, 2011.

  • Manca R., Non-invasive, scientific analysis of 19th-century gold jewellery and maiolica. A contribution to technical art history and authenticity studies, Ph.D. Thesis, Università degli Studi di Firenze, 2021.

  • Mann, Fiona, Brushing the surface: the Practice and critical reception of watercolour techniques in England 1850-1880, Vol.1, PhD diss., Oxford Brookes, 2011.

  • Maxwell, James Clerk, ‘On the Theory of Colours in relation to Colour-Blindness. A letter to Dr G. Wilson.’, Transactions of the Royal Scottish Society of Arts, Vol. 4, N° 3, pp. 119-125.

  • Mayerne, Théodore Turquet de, Pictoria Sculptoria et quae subalternarum artium, 1620–46, London, British Library, Sloane MS 2052.

  • Merrifield, Mary Philadelphia, The Art of Fresco Painting, as Practised by the Old Italian and Spanish Masters, with a Preliminary Inquiry into the Nature of the Colours Used in Fresco Painting, with Observations and Notes, London: Printed for the Author, by Charles Gilpin, 5 Bishopsgate Street and Arthur Wallis, Brighton, 1846. https://archive.org/details/artfrescopainti00merrgoog/mode/2up

  • Merrifield, Mary Philadelphia, Original Treatises: Dating from the XIIth to XVIIIth centuries on the arts of painting, in oil, miniature, mosaic, and on glass; of gilding, dyeing, and the preparation of colours and artificial gems; preceded by a general introduction; with translations, prefaces, and notes, 2 vols, London: John Murray, 1849. https://archive.org/details/originaltreatis00merrgooghttps://archive.org/details/originaltreatis01merrgoog

  • Merrifield, Mary Philadelphia, Practical Directions for Portrait Painting in Water-Colours, London: Winsor & Newton, 1851. https://archive.org/details/practicaldirect00merrgoog/mode/2up

  • Merrifield, Mary Philadelphia, Dress as a Fine Art, London: Arthur Hall, Virtue & Co., 1854.

  • Merrifield, Mary Philadelphia, A Sketch of the Natural History of Brighton and its Vicinity, Brighton: W. Pearce, 1860.

  • Merrifield, Mary Philadelphia, ‘The Harmony of Colors as Exemplified in the Exhibition’, The Art Journal Illustrated Catalogue: The Industry of All Nations, London: Published for the proprietors, by George Virtue, 1851, I-VIII.

  • Moser, Stephanie, Designing Antiquity. Owen Jones, Ancient Egypt and the Crystal Palace, London: Yale University Press, 2012.

  • 'THE GREAT EXHIBITION. About Dyes and Beauty and Coal-Tar Mauve and Magenta How Made Extraordinary Specimen of Aniline Art and the New Colors', New York Times, 28 July 1862. https://www.nytimes.com/1862/07/28/archives/the-great-exhibition-about-dyes-and-beauty-and-coaltar-mauve-and.html

  • Percier, Charles, Croquis faits au Musée des Monuments français, Paris, Didot. https://bibnum.institutdefrance.fr/records/item/24829-ch-percier-croquis-faits-au-musee-des-monuments-francais-e-imbard-tombeau-de-louis-xii-dit-le-pere-du-peuple-et-tombeau-de-francois-ier

  • Persoz, Jean-François, Traité théorique et pratique de l'impression des tissus, Paris, Victor Masson, 1846. http://cnum.cnam.fr/CGI/sresrech.cgi?8KE148ARES.1/8

  • Piesse, Septimus, Chymical, Natural, and Physical Magic. Intended for the Instruction and Entertainment of Juveniles during the Holiday Vacation, 3rd edition, London: Longman, Green, Longman, Roberts, & Green, 1865, pp. 149-150.

  • Piggott, Jan R., Palace of the People. The Crystal Palace at Sydenham 1854-1936, London: Hurst and Company, 2004.

  • Cendrillon : revue encyclopédique de tous les travaux de dames...., Paris, Adolphe Goubaud, 1 November 1862, p. 192-193.https://gallica.bnf.fr/ark:/12148/bpt6k97744447/f241.item.r

  • Ribeyrol, Charlotte, William Burges’s Great Bookcase & The Victorian Colour Revolution, London, New Haven, 2023.

  • Ritter, Eugène, Des Vins colorés par la fuchsine et des moyens employés pour les reconnaître, Paris, Berger-Levrault & Cie, 1876. https://gallica.bnf.fr/ark:/12148/bpt6k889369f/f1.item

  • Roberts, David, The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia, 1842-9.

  • Schützenberger, Paul, Traité des matières colorantes : comprenant leurs applications à la teinture et à l’impression et des notices sur les fibres textiles, les épaississants et les mordants, Paris, Victor Masson et fils, 1867, p. 489. https://cnum.cnam.fr/redir?8KE152

  • Semper, Gottfried, The Four Elements of Architecture, translated by Harry Francis Mallgrave and Wolfgang Herrmann, New York / Cambridge, 1989.

  • Semper, Gottfried, London Writings. 1850-1855, edited by Michael Gnehm, Sonja Hildebrand, Dieter Weidmann, Gta, 2021.

  • Stoskopf, Nicolas, "Koechlin", in Cabanel, Patrick and Encrevé, André (ed.), Dictionnaire biographique des protestants français de 1787 à nos jours, Tome 3 : H-L, Paris, Les Editions de Paris, 2022, p. 456-490.

  • Le teinturier universel, Tome 1, n°15, 1 November 1860.

  • Le teinturier universel, Tome 2, n°16, 15 November 1860.

  • Le teinturier universel, Tome 2, n°4, 15 May 1861.

  • Le teinturier universel, Tome 3, n°18, 15 December 1862.

  • Letter from James McNeill Whistler, printed in “Our Weekly Gossip”, The Athenaeum n°1810 (July 5, 1862): 23.

  • “Our Weekly Gossip”, The Athenaeum n°1812 (July 19, 1862): 86.

  • Anon., ‘Books Received’, The Builder, 2 April 1859, pp. 242.

  • Anon., ‘The Kaleidoscopic Colour-Top’, The Builder, 16 April 1859, pp. 273.

  • Anon., ‘Society of Arts’, The Engineer, Vol. 7, 29 April and May 6 1859, pp. 291-293 and 310.

  • ‘The Late Mr Owen Jones’, The Illustrated London News, 64, 9 May 1874, pp. 445-6.

  • Thenard, Louis-Jacques and Jean-Pierre-Joseph d’Arcet, De l’emploi des corps gras comme hydrofuge, Paris, Bachelier, 1828. https://books.google.fr/books?id=OoBFNsTOLpwC&printsec=frontcover&hl=fr&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

  • Thistlewood, Jevon, ‘An Examination of William Burges’s Great Bookcase’, The Journal of the Decorative Arts Society 1850 – the Present 41, 2017, pp.26–33.

  • Townsend, Joyce H., ‘The Materials of J.M.W. Turner: Pigments’, Studies in Conservation 38/4, 1993, pp.231–54.

  • Townsend, Joyce H., ‘Painting Techniques and Materials of Turner and Other British Artists 1775–1875’, in eds. Arie Wallert, E. Hermens, and Marja Peek. Malibu, Historical Painting Techniques, Materials, and Studio Practice: Preprints of a Symposium, Los Angeles, 1995.

  • Townsend, Joyce H., ‘The Materials Used by British Oil Painters throughout the Nineteenth Century’, Studies in Conservation 47/1, London, 2002, pp.46–55.

  • Townsend, Joyce H., Jacqueline Ridge and Stephen Hackney, Pre-Raphaelite Painting Techniques, 1848–56, London, 2004.

  • Townsend, Joyce H., Leslie Carlyle, Narayan Khandekar and Sally Woodcock, ‘Later Nineteenth Century Pigments: Evidence for Additions and Substitutions’, The Conservator 19/1, London, 1995, pp.65–78.

  • Cennino Cennini (author), Mary Philadelphia Merrifield (translator), Guiseppe Tambroni (introduction and notes), A Treatise on Painting, Written by Cennino Cennini in the Year 1437; and First Published in Italian in 1821 […], London: Edward Lumley, 1844. https://archive.org/details/atreatiseonpain00merrgoog/mode/2up

  • Travis, Anthony S., The Rainbow Makers : the origins of the synthetic dyestuffs industry in western Europe, Bethlehem, Lehigh University Press, 1993.

  • Wachelder, Joseph, ‘Toys as Mediators’, Icon, Vol. 13, 2007, pp. 135-169.

  • Waller, Richard, Tabula colorum physiologica, 1686.

  • Waring, John Burley, Masterpieces of industrial art & sculpture at the International exhibition, 1862, London: Day and Son, 1863. https://archive.org/details/masterpiecesind2wari

  • Wilkinson, John Gardner, On Colour and on the Necessity for a General Diffusion of Taste Among All Classes, London: John Murray, 1858. https://archive.org/details/oncolouronnecess00wilk/mode/2up

  • Winterbottom, Matthew, ‘Not Acceptable to Present Taste: William Burges’s Great Bookcase’, The Journal of the Decorative Arts Society 1850 – the Present 41, 2017, pp.14–25.

  • Wurtz, Adolphe, Progrès de l’industrie des matières colorantes artificielles, Paris, G. Masson, 1876, p. 54. https://archive.org/details/progrsdelindust00wurtgoog/mode/2up