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showing 11 library results for 'transparent'

Transparent furniture finishes in New England, 1700-1820 : a documentary study Mussey, Robert ca1981 • FOLIO • 1 copy available. 749.1.004.4
An epitome of astronomy, with the new discoveries : including an account of the eidouranion or transparent Walker, W 1800 • RARE-BOOK • 1 copy available. 094 <EXTI Philosophical Tracts:529.78
exposition of the theory of the law of storms, and its uses to mariners of all classes... shewn by transparent Piddington, Henry 1848 • RARE-BOOK • 1 copy available. 094:551.515.2
theory of the law of storms, and its uses to mariners of all classes in all parts of the world, shewn by transparent Piddington, Henry 1848 • BOOK • 1 copy available. 551.515.2
of the law of storms, and its uses to mariners of all classes, in all parts of the world, shewn by transparent Piddington, Henry 1864 • BOOK • 1 copy available. 551.515.2
of the law of storms, and its uses to mariners of all classes, in all parts of the world, shewn by transparent Piddington, Henry. 1876. • BOOK • 1 copy available. 551.515.2
of the law of storms, and its uses to mariners of all classes, in all parts of the world, shewn by transparent Piddington, Henry 1851 • BOOK • 2 copies available. 551.515.2
Watercraft lifeboats / Watercraft Limited. Pamphlet advertising Watercraft Limited's range of lifeboats, including images and specifications, and lists of companies using the craft and of the company's agents. Accompanied by a folded copy of a plan of their "motor lifeboat with radio cabin for 51 persons". 19??] • PAMPHLET • 1 copy available. 627.777.2
Artists' pigments : a handbook of their history and characteristics: volume 3. Each volume concentrates on different pigments. "Artists' pigments series: an encyclopedic reference [intended] For the practicing artist to learn a pigment's color, hiding power, lightfastness, toxicity, compatibility; For the art historian to know how an artist worked, what pigments were used, whether they were pure or mixed, opaque or transparent, layered or not; For the conservator to devise techniques necessary for the care and conservation of works of art, to determine what is original, to repair damages, to compensate for missing portions of a painted surface; For the curator and the connoisseur to know the history of manufacture and use of pigments, to authenticate and assign probable dates to works of art; For the conservation scientist to learn identification methods used, including optical microscopy, microchemical tests, X-ray diffraction, infrared and reflectance spectrophotometry, and electron microscopy."--Back cover. 2012. • BOOK • 1 copy available. 75.023.2
Artists' pigments : a handbook of their history and characteristics: volume 2. Each volume concentrates on different pigments. "Artists' pigments series: an encyclopedic reference [intended] For the practicing artist to learn a pigment's color, hiding power, lightfastness, toxicity, compatibility; For the art historian to know how an artist worked, what pigments were used, whether they were pure or mixed, opaque or transparent, layered or not; For the conservator to devise techniques necessary for the care and conservation of works of art, to determine what is original, to repair damages, to compensate for missing portions of a painted surface; For the curator and the connoisseur to know the history of manufacture and use of pigments, to authenticate and assign probable dates to works of art; For the conservation scientist to learn identification methods used, including optical microscopy, microchemical tests, X-ray diffraction, infrared and reflectance spectrophotometry, and electron microscopy."--Back cover. 2012. • BOOK • 1 copy available. 75.023.2
Artists' pigments : a handbook of their history and characteristics: volume 4 Each volume concentrates on different pigments. "Artists' pigments series: an encyclopedic reference [intended] For the practicing artist to learn a pigment's color, hiding power, lightfastness, toxicity, compatibility; For the art historian to know how an artist worked, what pigments were used, whether they were pure or mixed, opaque or transparent, layered or not; For the conservator to devise techniques necessary for the care and conservation of works of art, to determine what is original, to repair damages, to compensate for missing portions of a painted surface; For the curator and the connoisseur to know the history of manufacture and use of pigments, to authenticate and assign probable dates to works of art; For the conservation scientist to learn identification methods used, including optical microscopy, microchemical tests, X-ray diffraction, infrared and reflectance spectrophotometry, and electron microscopy." 2012 • BOOK • 1 copy available. 75.023.2