Colouring & Varnish

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<p>The OW liquid colors are the new essential product for coloring any alcohol-based varnish. They do not contain any resin in their formula and must be mixed with alcohol varnish to achieve a colored solid film. Application: mix a few drops of alcohol varnish with OW liquid color.</p> <p><span style="text-decoration:underline;"><em><strong>Much more concentrated than the colors offered by Hammerl / Joha.</strong></em></span></p> <p>Non-flammable product.</p> <p>CLP Regulation (EC) No 1272/2008:</p> <p><strong>Warning</strong></p> <p><strong><span style="text-decoration:underline;">Hazard statements:</span></strong></p> <p>Aquatic Chronic 3: H412 – Harmful to aquatic life with long-lasting effects.</p> <p>STOT SE 3: H336 – May cause drowsiness or dizziness.</p> <p><span style="text-decoration:underline;"><strong>Precautionary statements:</strong></span></p> <p>P101: If medical advice is needed, have a product container or label at hand.</p> <p>P102: Keep out of reach of children.</p> <p>P304+P340: IF INHALED: Remove the person to fresh air and keep comfortable for breathing.</p> <p>P403+P233: Store in a well-ventilated place. Keep the container tightly closed.</p> <p>P501: Dispose of the contents/containers in accordance with current legislation on waste treatment.</p> <p><span style="text-decoration:underline;"><strong>Substances contributing to classification:</strong></span></p> <p>1-ethoxypropan-2-ol (CAS: 1569-02-4)</p> <p>Additional Labeling:</p> <p><span style="text-decoration:underline;"><strong>Do not use in paint spraying equipment.</strong></span></p> <p></p> <p>UFI: NMAE-N1GU-600Y-WQXT</p>

045.002

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<p>OLD WOOD presents a collection of exquisite oil colours meticulously crafted to bring vibrancy and depth to artistic expressions. Let's explore the distinct characteristics of each unique pigment:</p> <p><span style="text-decoration:underline;"><strong>Indian Yellow (Reseda Luteola L.)</strong></span></p> <p>A stable yellow pigment with a vegetable origin, it offers transparency, depth, and luminosity.</p> <p>Derived from Reseda Luteola L., its history traces back to Persia in the 15th century.</p> <p>The organic material, magnesium salts from euxanthic acid in the urine of bovine animals fed with mangoes, adds to its uniqueness.</p> <p>OLD WOOD uses the name Indian Yellow for Weld – Indian Yellow, a vegetable origin pigment from the resedaceae family.</p> <p><span style="text-decoration:underline;"><strong>Pernambuco – Golden Brown (Caesalpina echinata)</strong></span></p> <p>Originating in Asia, it gained popularity in Europe during the 15th and 16th centuries as a bright red dye.</p> <p>Derived from the Caesalpina echinata species, OLD WOOD processes brazilin and brazilein to create ochre-purple-brown shades with vibrant transparency.</p> <p><span style="text-decoration:underline;"><strong>Madder Lake Brown Red (Rubia tinctorum L.)</strong></span></p> <p>Among the most stable natural pigments, it has been a common red dye for centuries.</p> <p>Obtained from the root of the madder plant in the Mediterranean and Middle East, it provides pure, bright, warm, transparent, and lively red hues.</p> <p><span style="text-decoration:underline;"><strong>Walnut – Dark Brown (Junglans regia)</strong></span></p> <p>Developed by OLD WOOD as a neutral hue to correct excessive red tones.</p> <p>This exclusive brown pigment serves as both a glaze for walnut color and a tint or neutralizing agent to maintain transparency and enhance the overall color balance.</p> <p><span style="text-decoration:underline;"><strong>Venetian Red (Sorghum Halepense)</strong></span></p> <p>Extracted from the sorghum plant, it produces varying colors from dark red and brown to light yellow and white.</p> <p>OLD WOOD selects a variety rich in pelargonidin, petunidin, and cyanidin, creating a dark red-brown pigment with transparency and silky warmth.</p> <p><span style="text-decoration:underline;"><strong>Madder Lake Red (Rubia tinctorum L.)</strong></span></p> <p>Obtained from the madder plant's root, it stands out as one of the most stable natural pigments, offering pure, bright, warm, transparent, and lively red hues.</p> <p><span style="text-decoration:underline;"><strong>Cherry Red (Coccus Laca)</strong></span></p> <p>OLD WOOD processes traditional Indian lac to produce a shiny red with strong brown and deep purple hues, showcasing great transparency.</p> <p>Derived from the secretions of female Coccus lacca insects, this pigment adds a rich and deep red to artistic palettes.</p> <p></p> <p>OLD WOOD's commitment to quality and the careful processing of these complex dyes results in a palette that artists can trust for vibrant, transparent, and warm hues, enriching their creative expressions.</p>

045.021

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<p>OLD WOOD carefully processes these complex dyes to create two unique golden hues. Golden Yellow is the most vibrant, with bright orange tones. This plant originates from Central America and belongs to the Asteraceae family.</p> <p>The Aztecs used it as their primary dye for yellow-orange shades, as described in the 16th-century Florentine Codex compiled by Friar Bernardino de Sahagún. The codex mentions that Xochipalli was the Nahuatl name for these dyes obtained from the petals of Cosmos sulphureus, a plant that grows in Mexico.</p> <p>The primary coloring agent in Cosmos sulphureus is the pentahydroxy chalcone hexoside, a flavonoid of the anthochlorine type commonly known as coreopsin. However, the plant also provides color through additional flavonoids, such as isoquercitin and luteolin glycosides.</p> <p>OLD WOOD meticulously subjects these complex dyes to a careful process to create two golden hues, one with greenish oak nuances (Golden Oak) and the other more yellow with bright orange accents (Golden Yellow). Both are characterized by their extreme transparency, vibrancy, warmth, and vitality.</p>

045.018

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<p>Ansaldo Poggi (1895-1984), one of the most influential luthiers of the 20th century, received acclaim in Europe and around the world for his extraordinary craftsmanship. His varnish, renowned for its excellent texture and clarity, offers a range of colors from bright and vibrant orange tones to deeper shades of yellow-reddish hues. Poggi's artistry is reflected in the color we present, designed by Academia Cremonensis and produced by Old Wood Company</p> <p>....a tribute to his lasting influence in the world of violin making.</p>

045.774

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<p><strong>Giuseppe Fiorini (1861-1934)</strong>, a distinguished violin maker, earned accolades in Europe and the rest of the world for his exceptional craftsmanship. His varnish, known for its excellent texture and clarity, ranges from warm and vivid orange to nuanced brown and reddish hues. Fiorini's artistry lives on in the color we offer, designed by <strong>Academia Cremonensis</strong> and produced by <strong>Old Wood Company</strong></p> <p>....a tribute to his enduring influence in the world of violin making.</p>

045.772

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<p>This varnish is processed to give it a deep brown and transparent colour in the style of the Classical Luthiers of the Brescia school.</p> <p>This varnish has very similar characteristics to the Classical Amber Varnish. However, it is processed to give a deep and transparent brown colour in the style of the classical luthiers of the Brescia school.</p> <p>It offers an optimum result to be combined with pigments, dyes and on glazes, as well as to heighten the colour of earlier coats. It can be diluted with white spirit, turpentine and with OW Thinner.</p>

045.400

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<p>Varnish with a high concentration of resin, formulated with Baltic Amber, linseed oil thickened in the sun and polymerised linseed oil.</p> <p>This varnish produces a beautiful, transparent, warm and resistant coating. It gives an optimum result to be combined with pigments, dyes and on glazes.</p> <p>It makes the colours brighter giving depth, luminosity and incomparable solidity. It can be diluted with white spirit, turpentine and with OW Thinner (see “raw materials”).</p> <p>Due to the quality of the oils used, they give the varnish excellent properties regarding levelling, drying and resistance to external agents. The physical properties of the finish will also depend on carrying out a correct curing or drying of the applied coating.</p> <p>During drying, in addition to the evaporation of the solvents oxidation, oxidation reactions also occur with the oxygen in the air. This auto-oxidation is controlled in all our varnishes by a correct selection of secants that guarantee a homogeneous drying on the entire thickness of the applied coating.</p> <p>We recommend drying our oil-based varnishes in an UV chamber.</p> <p># References: Heraclitus. (s. XI ).“De Coloribus et Artibus Romanorum”.Cap.11-A y 44. # Theophil’s Manuscript. (s. XII ). Capítulo 37. # Leonardo Da Vinci (1452 – 1519). “Book of notes”. # Dr. Ketam’s. (2ª m. S XV ). “Flemish Manuscript”. # Anónimo alemán (1503 – 1506). “Liber Illuministrarius” . Sec. 19. # Marciana Manuscript. (1503 – 1527). Paragraph 395. # Timoteo Rosello. (1575). “Della Summa de Secretti Universali”. # Theodore Turquet de Mayerne. (1620). “Pictoria, Sculptoria et qua Subalternum Artium”. P. 43 (« The true varnish of lutes and viols ») # Chrstopher L. Morley. (1697). “Collectanea Chymica Leydensia” # Mary P. Merrifield. “ Medieval &amp; Renaissance Treatises on the Arts of Painting”. # Geary L. Baese. “Classic Italian Violin Varnish” # Martin Roberts Zemitis. “Violin Varnish and Coloration”. # Luciano Colombo. “The Old Varnishes for Violin Making”. # Vincenzo Gheroldi.«Venici e Segreti Curiosissimi. Cremona 1747». “Il Manoscritto4 (H 113) della Biblioteca Trivulziana di Milano”.</p>

045.075

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<p>Refractive ground is a transparent amber ground that provides a “permanent moist effect”.</p> <p>Refractive Ground deeply protects and illuminates the wood.</p> <p>It is a transparent amber compound that provides a refractive index similar to wood. For that reason it enhances and highlights to the maximum the light refractive process generating an “optical effect of depth” on the wood’s surface, developing a “permanent wet effect” on the annual rings, as well as on their resinous and amorphous formations.</p> <p>Its optimum penetration in the superficial layer of the wood avoids the saturation of the fibres, achieving an incomparable luminosity in depth.</p>

045.401

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<p>Imprimitura Minerale is a transparent ground formulated with mineral compounds.</p> <p>Imprimitura Minerale is a transparent ground formulated with mineral compounds that saturate, at the beginning, the pores of the wood, helping to improve the performance of the wood and, therefore, the instrument.</p> <p>The vehicle used is the oleo-resinous component that facilitates the application of the mineral loads, protects the wood from external agents and provides great transparency and refraction.</p> <p>The solid particles introduced together with the main vehicle of the varnish create different types of refractive indexes between the layers and the substrate (the wood itself), contributing to the dichromatic effect.</p> <p>It can be diluted with linseed oil, walnut oil, white spirit, turpentine or lavender oil. To obtain the best results, only a very thin coat should be applied.</p> <p></p> <p>Bibliographical references:</p> <p>Marciana Manuscript.</p> <p>Louis M. Condax.</p> <p>Ralph Raphael.</p> <p>Andrew Dipper.</p> <p>Gabriele Carletti.</p> <p>Max Doerner.</p> <p>Ralph Mayer.</p> <p>Rutherford J. Gettens &amp; George L. Scout.</p> <p>Mary P. Merrifield.</p> <p>Claire Barlow &amp; Jim Woodhouse.</p>

045.070

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<p><span style="background-color:#fbe329;"><strong>Italian Yellow Varnish</strong></span></p> <p>Classic oil varnish for classic wooden stringed instruments, such as the violin, the viola, and the cello.</p> <p>This varnish is made following traditional formulas, using high-quality natural raw materials. This varnish can be combined with new colours incorporated into the oils.</p> <p>Italian Coloured Varnishes provide a beautiful, transparent, and resistant film. This range of varnishes offers an optimal result no matter if they are used alone, combined with each other or with Old Wood other classic oil varnishes. They can also be mixed with our Oil Natural Colors and glazes.</p> <p>This varnish is formulated with resins and modified rosin in combination with high-quality linseed oils, which provides the optimal balance between the hardness and flexibility needed to protect the instrument.</p> <p>As a diluent medium, it includes a blend of aromatic-free and high-boiling solvents, resulting in a non-flammable, low-odour product.</p>

045.781

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<p><span style="background-color:#fbe329;"><strong>Italian Red Varnish</strong></span></p> <p>Classic oil varnish for classic wooden stringed instruments, such as the violin, the viola, and the cello.</p> <p>This varnish is made following traditional formulas, using high-quality natural raw materials. This varnish can be combined with new colours incorporated into the oils.</p> <p>Italian Coloured Varnishes provide a beautiful, transparent, and resistant film. This range of varnishes offers an optimal result no matter if they are used alone, combined with each other or with Old Wood other classic oil varnishes. They can also be mixed with our Oil Natural Colors and glazes.</p> <p>This varnish is formulated with resins and modified rosin in combination with high-quality linseed oils, which provides the optimal balance between the hardness and flexibility needed to protect the instrument.</p> <p>As a diluent medium, it includes a blend of aromatic-free and high-boiling solvents, resulting in a non-flammable, low-odour product.</p>

045.780

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<p><span style="background-color:#fbe329;"><strong>Italian Dark-Brown Varnish</strong></span></p> <p>Classic oil varnish for classic wooden stringed instruments, such as the violin, the viola, and the cello.</p> <p>This varnish is made following traditional formulas, using high-quality natural raw materials. This varnish can be combined with new colours incorporated into the oils.</p> <p>Italian Coloured Varnishes provide a beautiful, transparent, and resistant film. This range of varnishes offers an optimal result no matter if they are used alone, combined with each other or with Old Wood other classic oil varnishes. They can also be mixed with our Oil Natural Colors and glazes.</p> <p>This varnish is formulated with resins and modified rosin in combination with high-quality linseed oils, which provides the optimal balance between the hardness and flexibility needed to protect the instrument.</p> <p>As a diluent medium, it includes a blend of aromatic-free and high-boiling solvents, resulting in a non-flammable, low-odour product.</p>

045.778

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<p><strong><span style="background-color:#fbe329;">Italian Varnish Brown</span></strong></p> <p>Classic oil varnish for classic wooden stringed instruments, such as the violin, the viola, and the cello.</p> <p>This varnish is made following traditional formulas, using high-quality natural raw materials. This varnish can be combined with new colours incorporated into the oils.</p> <p>Italian Coloured Varnishes provide a beautiful, transparent, and resistant film. This range of varnishes offers an optimal result no matter if they are used alone, combined with each other or with Old Wood other classic oil varnishes. They can also be mixed with our Oil Natural Colors and glazes.</p> <p>This varnish is formulated with resins and modified rosin in combination with high-quality linseed oils, which provides the optimal balance between the hardness and flexibility needed to protect the instrument.</p> <p>As a diluent medium, it includes a blend of aromatic-free and high-boiling solvents, resulting in a non-flammable, low-odour product.</p>

045.777

5/ 5

<p>Ferdinando Garimberti (1885-1956), a luminary in the realm of violin making, apprenticed under the guidance of masters Romeo and Riccardo Antoniazzi. His journey continued with influential stints at the workshops of Leandro Bisiach and Giuseppe Pedrazzini before establishing his own atelier in Milan around 1920. Here, he not only crafted new violins but also honed his expertise in restoring antique instruments.</p> <p>Garimberti's artistic legacy, marked by extraordinary craftsmanship and an unwavering attention to detail, is notably consistent over time. His creations bear the hallmark of elegance and a meticulous eye for intricacies. Frequently opting for the highest quality materials, he often favored one-piece backs, showcasing a commitment to excellence.</p> <p>The varnish on Garimberti's violins, characterized by its varying color and consistency, typically exhibits an enchanting orange-red hue. This distinctive palette, a testament to his artistic choices, adds a unique allure to his instruments. Many of Garimberti's masterpieces proudly carry a signed label and brand, solidifying their authenticity.</p> <p>The color we offer, crafted by Academia Cremonensis and brought to life by Old Wood Company, pays homage to Garimberti's legacy. Inspired by his penchant for rich and deep red tones, this distinctive hue is a nod to the exceptional craftsmanship and dedication to detail that defined Ferdinando Garimberti's contributions to the world of violin making.</p>

045.773

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<p>OW Varnish Stripper is an expertly formulated product tailored for the precise removal of unwanted layers such as oils, varnishes, paints, waxes, and resins. Crafted with precision, this stripper is designed to address the challenges posed by delicate restoration and repair projects, ensuring a meticulous approach to eliminating undesired coatings.</p> <p>Ideal for indoor use, OW Water Based Varnish Stripper proves indispensable in the restoration of musical instruments, furniture, and decorative items. Its efficacy lies in its ability to break down layers of paint and varnish, facilitating easy removal with a putty knife or sponge, all while safeguarding the surface integrity of wood and other materials.</p> <p>Distinguished by its water-based composition, this varnish stripper is marked by a lack of overpowering odors, fostering a more pleasant work environment. In contrast to conventional paint removers or "strippers" that rely on potent solvents, OW Water Based Varnish Stripper eliminates associated health risks, sparing users from skin irritation and respiratory discomfort. The absence of flammable components further enhances its safety profile, making it a prudent choice for various applications.</p>

045.786

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<p>Refractive Ground Old Yellow is a transparent amber ground designed to impart a rich and warm color to the wood, creating a "permanent moist effect."</p> <p>This specialized compound not only deeply protects but also illuminates the wood, offering a refractive index similar to the wood itself. By enhancing and maximizing the light refractive process, it generates an "optical effect of depth" on the wood's surface. The result is a distinctive and lasting "permanent wet effect" on the annual rings, as well as on their resinous and amorphous formations.</p> <p>Refractive Ground Old Yellow is formulated for optimal penetration into the superficial layer of the wood. This ensures that the fibers are not saturated, achieving an incomparable luminosity in depth. Elevate your wood finishing with Refractive Ground Old Yellow, creating a unique and warm ambiance that enhances the natural beauty of the wood.</p>

045.775

5/ 5

<p>OW Siccative is a meticulously balanced blend of siccatives ideal for luthiers crafting their own varnishes or utilizing siccatives-free varnishes.</p> <p>This additive seamlessly integrates with linseed and walnut oils, traditional constituents of string instrument varnishes.</p> <p>OW Siccative ensures uniform drying, regardless of varnish thickness, fostering durability and flexibility while sidestepping tensions and optimizing drying time. Its addition to varnish is a quick and effortless process.</p> <p>This formulation features non-toxic metallic elements, an odorless solvent base, and a high flash point, free from lead, cobalt, or aromatic compounds. The recommended dosage entails adding 5ml (equivalent to approximately 40 drops) of OW Siccative per 100ml of oil in the varnish, with a suggestion to incorporate it into the solvent used for viscosity adjustment, guaranteeing thorough and efficient dilution within the varnish.</p> <p>Keep in mind that the overall drying duration is contingent upon factors such as oil quantity, film thickness, environmental conditions (humidity, temperature), and radiation type (solar vs. UV).</p>

045.704

5/ 5

<p>Classic oil varnish for classic wooden stringed instruments, such as the violin, the viola, the cello and the double bass.</p> <p>This varnish is appropriate for special ageing techniques and when easy chipping and hard varnish is required (ref. Peter Westerlund Youtube video; westerlend.se)</p> <p>This varnish is made following traditional formulas, using high quality natural raw materials.</p> <p>Extra-resin varnish provides a beautiful, transparent, and resistant film.</p> <p>The shiny film obtained has high hardness and transparency.</p>

045.065

5/ 5

<p>The OW liquid colours are the new substantial aid to varnish retouching. They don’t contain any resin in their formula and must be mixed with alcohol varnish to achieve a coloured solid film. Application: mix some drops of alcohol varnish with OW liquid colour.</p> <p>Non-flammable product.</p> <p>Label elements:</p> <p>CLP Regulation (EC) No 1272/2008:</p> <p></p> <p>Hazard statements:</p> <p></p> <p>Skin Sens. 1: H317 – May cause an allergic skin reaction.</p> <p>STOT SE 3: H336 – May cause drowsiness or dizziness.</p> <p>Precautionary statements:</p> <p></p> <p>P101: If medical advice is needed, have product container or label at hand.</p> <p>P102: Keep out of reach of children.</p> <p>P280: Wear protective gloves/protective clothing/respiratory protection/eye protection/protective footwear.</p> <p>P302+P352: IF ON SKIN: Wash with plenty of water.</p> <p>P304+P340: IF INHALED: Remove person to fresh air and keep comfortable for breathing.</p> <p>P501: Dispose of the contents/containers in accordance with the current legislation on waste treatment</p> <p>Substances that contribute to the classification</p> <p>1-ethoxypropan-2-ol (CAS: 1569-02-4); C.I.Acid yellow 220 (CAS: 70851-34-2)</p> <p>Additional Labelling:</p> <p>Do not use in paint spraying equipment</p>

045.001

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<p><span style="background-color:#fbe329;"><strong>Italian Orange Varnish</strong></span></p> <p>Classic oil varnish for classic wooden stringed instruments, such as the violin, the viola, and the cello.</p> <p>This varnish is made following traditional formulas, using high-quality natural raw materials. This varnish can be combined with new colours incorporated into the oils.</p> <p>Italian Coloured Varnishes provide a beautiful, transparent, and resistant film. This range of varnishes offers an optimal result no matter if they are used alone, combined with each other or with Old Wood other classic oil varnishes. They can also be mixed with our Oil Natural Colors and glazes.</p> <p>This varnish is formulated with resins and modified rosin in combination with high-quality linseed oils, which provides the optimal balance between the hardness and flexibility needed to protect the instrument.</p> <p>As a diluent medium, it includes a blend of aromatic-free and high-boiling solvents, resulting in a non-flammable, low-odour product.</p>

045.779

5/ 5

<p>Refractive ground is a transparent amber ground that provides a “permanent moist effect”.</p> <p>Refractive Ground deeply protects and illuminates the wood.</p> <p>It is a transparent amber compound that provides a refractive index similar to wood. For that reason it enhances and highlights to the maximum the light refractive process generating an “optical effect of depth” on the wood’s surface, developing a “permanent wet effect” on the annual rings, as well as on their resinous and amorphous formations.</p> <p>Its optimum penetration in the superficial layer of the wood avoids the saturation of the fibres, achieving an incomparable luminosity in depth.</p>

045.783

5/ 5

<p>Doratura Minerale is a ground that incorporates mineral compounds into the wood, enhancing the instrument's underlying golden hues, along with an oleo-resinous base that facilitates its homogeneous and uniform application.</p> <p>On one hand, with the introduction of a mineral stratum, the wood's pores are saturated, contributing to improving the wood's characteristics and protection. The coloring provided by these components introduces new nuances of color and increases the luminosity of the final finish.</p> <p>The distribution of the particle size of these minerals creates different levels of refractive indexes between the layers and substrate (the wood itself), favoring the desired dichromatic effect.</p> <p>On the other hand, the transparent vehicle used uniformly fixes these loads and promotes the correct leveling of the application.</p>

045.071

5/ 5

<p>Cremona Varnish is used to heighten the varnish’s suppleness, resistance and elasticity.</p> <p>The incorporation of processed thickened Spanish turpentine, Baltic burnt amber, and top quality linseed oils to the Cremona Varnish, allows enhancing the suppleness, resistance and elasticity properties of the varnish.</p> <p>The shade of the coating is slightly lighter than that the one in the Classical Amber Varnish, but just as warm and luminous, obtaining an even more unctuous and prolonged application and achieving excellent levelling, drying and transparency parameters.</p> <p>Cremona Varnish can be diluted with solvent and OW Thinner</p>

045.410

5/ 5

<p>Crafted through the fusion of lead crystal glass with heavy metal oxides, this unique color is achieved through a meticulous melting process, ensuring a vibrant and enduring hue.</p> <p>With an excellent light fastness rating of 8,8,8, our olive green glass powder is designed to maintain its brilliance over time. Versatile and adaptable, it seamlessly integrates into various artistic mediums, including oil, acrylic dispersions, lime, and a variety of adhesives.</p> <p>Please note that while these powders can be applied in numerous applications, in certain mortars and cements, they may induce blooming. As a precaution, we recommend conducting trials, particularly for applications in exterior environments.</p> <p>Each particle of our olive green glass powder is finely crushed, ground to a gritty texture of about 0.25 mm, and meticulously sieved to ensure consistency in your artistic endeavors. Elevate your creations with the unique and enduring beauty of our exclusive olive green Fine Colored Glass Powder.</p>

045.723

5/ 5

<p>Here are the Tempera Fine colors, the ideal choice for artists and illustrators, as well as a valuable companion for coloring the pegbox of the violin and the interior of the f-holes. Their simplicity and practicality make them suitable for a wide range of uses, ensuring excellent and long-lasting results.</p> <p>The versatility of these colors proves particularly useful when it comes to coloring the pegbox of the violin and the interior of the f-holes. The robust and flexible textures can be easily diluted to achieve the desired color, ensuring uniform coverage and lasting brilliance. Their maximum compatibility and mixability with each other and other colors offer endless creative possibilities, allowing you to create customized shades to best fit your artistic project.</p> <p>These Maimeri Tempera Fine colors prove to be an indispensable ally in bringing your artistic creations to life, whether you are painting or coloring the interior of the pegbox of your violin. Their quality and versatility align perfectly with your artistic expression, making each detail vibrant and unique.</p>

045.186

5/ 5

<p>Here are the Tempera Fine colors, the ideal choice for artists and illustrators, as well as a valuable companion for coloring the pegbox of the violin and the interior of the f-holes. Their simplicity and practicality make them suitable for a wide range of uses, ensuring excellent and long-lasting results.</p> <p>The versatility of these colors proves particularly useful when it comes to coloring the pegbox of the violin and the interior of the f-holes. The robust and flexible textures can be easily diluted to achieve the desired color, ensuring uniform coverage and lasting brilliance. Their maximum compatibility and mixability with each other and other colors offer endless creative possibilities, allowing you to create customized shades to best fit your artistic project.</p> <p>These Maimeri Tempera Fine colors prove to be an indispensable ally in bringing your artistic creations to life, whether you are painting or coloring the interior of the pegbox of your violin. Their quality and versatility align perfectly with your artistic expression, making each detail vibrant and unique.</p>

045.184

5/ 5

<p>Here are the Tempera Fine colors, the ideal choice for artists and illustrators, as well as a valuable companion for coloring the pegbox of the violin and the interior of the f-holes. Their simplicity and practicality make them suitable for a wide range of uses, ensuring excellent and long-lasting results.</p> <p>The versatility of these colors proves particularly useful when it comes to coloring the pegbox of the violin and the interior of the f-holes. The robust and flexible textures can be easily diluted to achieve the desired color, ensuring uniform coverage and lasting brilliance. Their maximum compatibility and mixability with each other and other colors offer endless creative possibilities, allowing you to create customized shades to best fit your artistic project.</p> <p>These Maimeri Tempera Fine colors prove to be an indispensable ally in bringing your artistic creations to life, whether you are painting or coloring the interior of the pegbox of your violin. Their quality and versatility align perfectly with your artistic expression, making each detail vibrant and unique.</p>

045.187

5/ 5

<p>Here are the Tempera Fine colors, the ideal choice for artists and illustrators, as well as a valuable companion for coloring the pegbox of the violin and the interior of the f-holes. Their simplicity and practicality make them suitable for a wide range of uses, ensuring excellent and long-lasting results.</p> <p>The versatility of these colors proves particularly useful when it comes to coloring the pegbox of the violin and the interior of the f-holes. The robust and flexible textures can be easily diluted to achieve the desired color, ensuring uniform coverage and lasting brilliance. Their maximum compatibility and mixability with each other and other colors offer endless creative possibilities, allowing you to create customized shades to best fit your artistic project.</p> <p>These Maimeri Tempera Fine colors prove to be an indispensable ally in bringing your artistic creations to life, whether you are painting or coloring the interior of the pegbox of your violin. Their quality and versatility align perfectly with your artistic expression, making each detail vibrant and unique.</p>

045.185

5/ 5

<p><strong><span style="background-color:#fbe329;">Italian Dark Orange Varnish</span></strong></p> <p>Classic oil varnish for classic wooden stringed instruments, such as the violin, the viola, and the cello.</p> <p>This varnish is made following traditional formulas, using high-quality natural raw materials. This varnish can be combined with new colours incorporated into the oils.</p> <p>Italian Coloured Varnishes provide a beautiful, transparent, and resistant film. This range of varnishes offers an optimal result no matter if they are used alone, combined with each other or with Old Wood other classic oil varnishes. They can also be mixed with our Oil Natural Colors and glazes.</p> <p>This varnish is formulated with resins and modified rosin in combination with high-quality linseed oils, which provides the optimal balance between the hardness and flexibility needed to protect the instrument.</p> <p>As a diluent medium, it includes a blend of aromatic-free and high-boiling solvents, resulting in a non-flammable, low-odour product.</p>

045.782

5/ 5

<p>Rosin Varnish  Extra Resin</p> <p>Classic oil varnish for classic wooden stringed instruments, such as the violin, the viola, the cello, and the double bass.</p> <p>This varnish is appropriate for special ageing techniques and when easy chipping and hard varnish is required (ref. Peter Westerlund Youtube video; westerlend.se)</p> <p><span style="background-color:#fbe329;"><strong>https://www.youtube.com/channel/UCy1ZL5MSHTJuxYDyIaZqZYA</strong></span></p> <p>This varnish is made following traditional formulas, using high quality natural raw materials.</p> <p>Extra-resin varnish provides a beautiful, transparent, and resistant film.</p> <p>The shiny film obtained has high hardness and transparency.</p>

045.785

5/ 5

<p><strong>Italian Satin Varnish</strong></p> <p>Classic oil varnish for finishing the varnishing process of classic stringed instruments, such as the violin, the viola, the cello, and the double bass.</p> <p><span style="background-color:#fbe329;"><strong>It must be used as the last layer.</strong></span></p> <p>The varnish is made following the formulas of traditional varnishes, with high quality natural raw materials.</p> <p>This varnish provides a beautiful, transparent, and resistant film.</p> <p>The film obtained has a low gloss, which results in a satin silken aspect maintaining transparency.</p> <p>This varnish is formulated with modified rosin and pyrogenated  Baltic amber, combined with high-quality linseed oils, which provides the optimal balance, between hardness and flexibility, needed to protect the instrument.</p>

045.784

5/ 5

<p><strong>Italian Varnish Brown Red</strong></p> <p>Classic oil varnish for classic wooden stringed instruments, such as the violin, the viola, and the cello.</p> <p>This varnish is made following traditional formulas, using high-quality natural raw materials. This varnish can be combined with new colours incorporated into the oils.</p> <p>Italian Coloured Varnishes provide a beautiful, transparent, and resistant film. This range of varnishes offers an optimal result no matter if they are used alone, combined with each other or with Old Wood other classic oil varnishes. They can also be mixed with our Oil Natural Colors and glazes.</p> <p>This varnish is formulated with resins and modified rosin in combination with high-quality linseed oils, which provides the optimal balance between the hardness and flexibility needed to protect the instrument.</p> <p>As a diluent medium, it includes a blend of aromatic-free and high-boiling solvents, resulting in a non-flammable, low-odour product.</p>

045.776

5/ 5

<p>The FLASHE pigment, in circulation since 1954, was one of the first modern materials to provide alternatives to oil painting for artistic expressions. Its visual properties allow for the emulation of the effects of ancient tempera and the backgrounds of primitive paintings, with subdued, velvety, and opaque tones. It can be mixed with water and becomes permanent after drying.</p> <p>FLASHE colors can be applied with brushes of various sizes, spray guns, or sponges. This versatile product lends itself to multiple uses, such as matte painting on canvas and wood, interior wall decorations, trompe-l'oeil, theatrical set designs, billboards, and the preparation of backgrounds for oil or acrylic painting. It exhibits high color stability due to the high-quality matte acrylic paint, characterized by a matte finish and maximum pigment concentration.</p> <p>The paint can be diluted with water before drying, is resistant to water and turpentine, and offers high resistance to atmospheric agents. Thanks to the incorporated resins, FLASHE remains permanently flexible, resistant to light, aging, and the effects of oxygen and environmental conditions. It is particularly suitable for restoration, and being resistant to water and turpentine, it can only be removed with alcohol-based solvents.</p>

045.740

5/ 5

<p>The FLASHE pigment, in circulation since 1954, was one of the first modern materials to provide alternatives to oil painting for artistic expressions. Its visual properties allow for the emulation of the effects of ancient tempera and the backgrounds of primitive paintings, with subdued, velvety, and opaque tones. It can be mixed with water and becomes permanent after drying.</p> <p>FLASHE colors can be applied with brushes of various sizes, spray guns, or sponges. This versatile product lends itself to multiple uses, such as matte painting on canvas and wood, interior wall decorations, trompe-l'oeil, theatrical set designs, billboards, and the preparation of backgrounds for oil or acrylic painting. It exhibits high color stability due to the high-quality matte acrylic paint, characterized by a matte finish and maximum pigment concentration.</p> <p>The paint can be diluted with water before drying, is resistant to water and turpentine, and offers high resistance to atmospheric agents. Thanks to the incorporated resins, FLASHE remains permanently flexible, resistant to light, aging, and the effects of oxygen and environmental conditions. It is particularly suitable for restoration, and being resistant to water and turpentine, it can only be removed with alcohol-based solvents.</p>

045.739

5/ 5

<p>The FLASHE pigment, in circulation since 1954, was one of the first modern materials to provide alternatives to oil painting for artistic expressions. Its visual properties allow for the emulation of the effects of ancient tempera and the backgrounds of primitive paintings, with subdued, velvety, and opaque tones. It can be mixed with water and becomes permanent after drying.</p> <p>FLASHE colors can be applied with brushes of various sizes, spray guns, or sponges. This versatile product lends itself to multiple uses, such as matte painting on canvas and wood, interior wall decorations, trompe-l'oeil, theatrical set designs, billboards, and the preparation of backgrounds for oil or acrylic painting. It exhibits high color stability due to the high-quality matte acrylic paint, characterized by a matte finish and maximum pigment concentration.</p> <p>The paint can be diluted with water before drying, is resistant to water and turpentine, and offers high resistance to atmospheric agents. Thanks to the incorporated resins, FLASHE remains permanently flexible, resistant to light, aging, and the effects of oxygen and environmental conditions. It is particularly suitable for restoration, and being resistant to water and turpentine, it can only be removed with alcohol-based solvents.</p>

045.738

5/ 5

<p>The FLASHE pigment, in circulation since 1954, was one of the first modern materials to provide alternatives to oil painting for artistic expressions. Its visual properties allow for the emulation of the effects of ancient tempera and the backgrounds of primitive paintings, with subdued, velvety, and opaque tones. It can be mixed with water and becomes permanent after drying.</p> <p>FLASHE colors can be applied with brushes of various sizes, spray guns, or sponges. This versatile product lends itself to multiple uses, such as matte painting on canvas and wood, interior wall decorations, trompe-l'oeil, theatrical set designs, billboards, and the preparation of backgrounds for oil or acrylic painting. It exhibits high color stability due to the high-quality matte acrylic paint, characterized by a matte finish and maximum pigment concentration.</p> <p>The paint can be diluted with water before drying, is resistant to water and turpentine, and offers high resistance to atmospheric agents. Thanks to the incorporated resins, FLASHE remains permanently flexible, resistant to light, aging, and the effects of oxygen and environmental conditions. It is particularly suitable for restoration, and being resistant to water and turpentine, it can only be removed with alcohol-based solvents.</p>

045.737

5/ 5

<p>Eclectic, multiform, many-faceted. The perfect tool for working on large surfaces: stage sets, billboards, canvas, interior and outdoor murals. Formulated with a high concentration of maximum-yield pigments that can be perfectly mixed and matched for total coverage and the utmost opacity. The binder is a special, ultra-fine vinyl emulsion, a high-tech product that when dry forms an extremely strong film, resistant and elastic, that performs very well even in exposure to weather. </p> <p>Jar content: 140ml</p>

045.603

5/ 5

<p>Eclectic, multiform, many-faceted. The perfect tool for working on large surfaces: stage sets, billboards, canvas, interior and outdoor murals. Formulated with a high concentration of maximum-yield pigments that can be perfectly mixed and matched for total coverage and the utmost opacity. The binder is a special, ultra-fine vinyl emulsion, a high-tech product that when dry forms an extremely strong film, resistant and elastic, that performs very well even in exposure to weather. </p> <p>Jar content: 140ml</p>

045.602

5/ 5

<p>Eclectic, multiform, many-faceted. The perfect tool for working on large surfaces: stage sets, billboards, canvas, interior and outdoor murals. Formulated with a high concentration of maximum-yield pigments that can be perfectly mixed and matched for total coverage and the utmost opacity. The binder is a special, ultra-fine vinyl emulsion, a high-tech product that when dry forms an extremely strong film, resistant and elastic, that performs very well even in exposure to weather. </p> <p>Jar content: 140ml</p>

045.601

5/ 5

045.200

5/ 5

<p>Polvere di vetro finissima ideale per riempimenti di piccole fessure o crepe .Si può miscelare con vernice naturale o sintetica o colla a caldo. L'incredibile proprieta' rifrangente del vetro fa si che una volta stuccata la parte non cambierà colore al passaggio della luce. Perfetto anche come turapori estremamente trasparente.</p>

045.701

5/ 5

<p>“Italian varnish” is a classical oil varnish made with natural and traditional raw materials.</p> <p>Imagine the "Italian varnish" as a true work of art, carefully crafted by the talented technicians at the Old Wood Company. This classical oil varnish, steeped in tradition, is a result of their dedication to using natural and time-honored materials.</p> <p>The artisans at Old Wood Company took a trip back in time, consulting ancient recipes to breathe life into this varnish. They mixed pre-treated colophony and Baltic amber with oils, creating a varnish that not only exudes transparency but also carries a subtle, light hue that pays homage to ageless craftsmanship.</p> <p>Ensuring the perfect blend of hardness and flexibility, the Italian varnish from Old Wood Company joins the ranks of respected counterparts like Cremona, Classical Amber, and Brescia Varnishes. While they share a similar recipe, each varnish boasts its own unique color, a touch that reflects the artistry put into every batch.</p> <p>In the realm of technical wizardry, each varnish, including the Italian varnish, is painstakingly crafted to strike that sweet balance between its components. Rigorous testing, overseen by the skilled hands at the Old Wood Company, assures that these varnishes meet the loftiest standards.</p> <p>It's worth noting that the Italian varnish, crafted by the artisans at Old Wood Company, isn't just about hardness and flexibility; it also brings a lighter color and a quicker drying time to the table. These distinctive features, coupled with the know-how of the Old Wood Company, make this varnish a standout and valuable addition to the world of artistic finishes.</p>

045.073

5/ 5

<p>ITALIAN GOLDEN GROUND is a ground system (A + B) whose joint application provides a golden cinnamon colour that enhances the natural beauty of the wood, as well as long-lasting protection.</p> <p></p> <p>Italian Golden Ground A+B grounds enhance the natural beauty of the wood, protecting it indefinitely.</p> <p>Italian Golden Ground A. Exposure to ultraviolet radiation (natural or artificial), transforms the clear surface of the wood into a uniform and transparent golden cinnamon colour.</p> <p>An excellent finish is obtained that highlights the wood’s natural resinous structures.</p> <p>Italian Golden Ground B. It should always be applied after component A of the system. It acts as a colour printer and intensifies the resinous area, texture and natural light of the wood.</p> <p>It stabilises the obtained ground colour by stopping the subsequent degradation of the wood to undesirable greyish colours (considering inside light conditions), which maintains the inherent aesthetic qualities of luminosity and texture of the wood indefinitely.</p> <p>Dosage approx:  10 c.c. for violin / 35 c.c. for Cello / 75 c.c. for Double Bass</p> <p>These grounds can be applied using both oil varnishes and alcohol varnishes.</p> <p>Label elements:</p> <p>CLP Regulation (EC) No 1272/2008:</p> <p><span style="text-decoration:underline;"><strong>Product – A</strong></span></p> <p>Hazard statements:</p> <p>Acute Tox. 4: H302 – Harmful if swallowed.</p> <p>Precautionary statements:</p> <p>P101: If medical advice is needed, have a product container or label at hand.</p> <p>P102: Keep out of reach of children.</p> <p>P264: Wash thoroughly after handling.</p> <p>P270: Do not eat, drink or smoke when using this product.</p> <p>P301+P312: IF SWALLOWED: Call a POISON CENTER/doctor if you feel unwell.</p> <p>P330: Rinse mouth.</p> <p>P501: Dispose of the contents/containers in accordance with the current legislation on waste treatment</p> <p>Product A – UFI nº: AGFY-W0FY-Q00M-UEGK</p> <p><span style="text-decoration:underline;"><strong>Product – B</strong></span></p> <p>Hazard statements:</p> <p>Non-applicable</p> <p>Precautionary statements:</p> <p>P101: If medical advice is needed, have a product container or label at hand.</p> <p>P102: Keep out of reach of children.</p> <p>P501: Dispose of the contents/containers in accordance with the current legislation on waste treatment</p> <p>Supplementary information:</p> <p>EUH208: Contains 1,2-benzisothiazol-3(2H)-one. It may produce an allergic reaction.</p> <p>Product B – UFI nº: 0KFY-E05D-1003-HS2N</p>

045.068

5/ 5

045.058

5/ 5

045.055

5/ 5

045.054

5/ 5

045.051

5/ 5

045.039

5/ 5

045.038

5/ 5

<p>Aloe is a thickened juice derived from the leaves of various Aloe species. It belongs to the Liliaceae family and is indigenous to regions such as southern Africa, Egypt, India, and Mediterranean countries with a similar climate. In commercial trade, Aloe is often named after its place of origin.</p> <p>The process of extracting Aloe involves extracting the juice by cutting the leaves and allowing it to dry in the air. Alternatively, an Aloe extract can be obtained by boiling the dried leaves and evaporating the resulting decoction. This extract is considered inferior and is primarily used in medicine due to its high concentration of bitter substances.</p> <p>Two main varieties of Aloe can be distinguished based on their appearance, although there are also mixed forms. The first variety, commonly sourced from Capeland, has a shiny appearance because it is dried over a fire. However, prolonged storage may cause it to melt if it contains a significant amount of salt, which is considered an impurity. The second variety, known as "Leberaloe," has a dull, resinous, leathery brown exterior. Aloe sold under the name "Aloe Mosselbay" is a type of Kapaloe, while Port Elisabeth is another region in South Africa where it is produced but further east.</p> <p>Aloe contains aloin, an anthraquinone pigment. The percentage of aloin varies between 5% and 40% depending on the variety. Different types of aloin are designated with a prefix corresponding to the origin of the Aloe variety (e.g., Kapaloin). Additionally, aloinosides, which are glycosides of aloin, and aloeemodin are also present. Nitric acid can be used to extract chrysamic acid from Aloe, which appears as yellow leaflets when dried and dissolves in boiling water with a red color.</p> <p>Chrysamic acid is primarily employed for dyeing wool and silk. When combined with soda ash, untreated wool can be dyed blue or blue-gray, depending on the concentration of the dye bath. The resulting shade of blue is somewhat similar to indigo, but with a slightly reddish hue due to Orseille. In leather dyeing, chrysamic acid was utilized for achieving yellowing effects. Silk can be dyed with chrysamic acid, resulting in shades ranging from purple to rose red, and with a more diluted dye bath, various shades of pink can be obtained. Although chrysamic acid allows for other color variations, it is also commonly referred to as "aloe purple."</p> <p>Untreated Aloe readily dissolves in warm water and can be used to dye fabrics in yellow and brown tones, although the colors are not very lightfast. Without mordant salts, wool dyed with Aloe appears dark brown, while alum produces a reddish light brown hue. Ferrous sulfate yields maroon colors, and post-treatment with potassium bichromate darkens the browns. Due to the low lightfastness of Aloe-dyed textiles, it is often combined with other dyes. Aloe solutions in nitric acid are also utilized for dyeing wood, resulting in shades of yellow or resembling mahogany.</p> <p></p> <p>Product Data Sheet</p> <p>Product: Aloe capensis, powder</p> <p>Origin: South Africa</p> <p>Protected species (CITES): yes</p> <p>Harvest: wild gathering</p> <p>Fertilization: no</p> <p>Time of harvest: April – June</p> <p>Identity: complies</p> <p>Cleaning: manually</p> <p>Drying: drier</p> <p>Degree of crushing: ground</p> <p>Pharmacopoeia: complies to Ph.Eur. 2.8.13</p> <p>Pesticides: complies</p> <p>Chlorpyrifos and -methyl: &lt; 0.01 mg/kg</p> <p>Heavy metals: lead, cadmium, mercury: tested</p> <p>Microbiology: complies to Ph.Eur, herbal medicines, Cat. A</p> <p>Aflatoxins: tested</p> <p>Polycyclic aromatic hydrocarbons (PAH): not tested</p> <p>Desinfestation with CO2: yes</p> <p>Germ reduced: no</p> <p>Genetic modification: no</p> <p>Treated with ionizing radiation: no</p> <p>Temperature: max. 25°C</p> <p>Storage: dry and protected from sunlight </p>

045.700

5/ 5

<p>The root of a climbing plant from which yellow dye is derived.</p>

045.721

5/ 5

045.177

5/ 5

045.041

5/ 5

<p>Haematite is a micronized, natural iron oxide pigment that provides a highly intense coloring effect. When used in corrosion-protective paints, haematite absorbs UV rays, effectively safeguarding the binding agent.</p> <p>The following effects are reached:</p> <p>- an excellent corrosion protection</p> <p>- a good dispersibility</p> <p>Typical fields of application:</p> <p>- Corrosion-protective paints</p> <p>- Priming coat</p> <p>- Varnishes</p> <p>- Building material</p> <p>Haematite can be used in systems which contain solvents as well as those which are solvent free and in</p> <p>aqueous systems.</p> <p>Technical Data</p> <p> Type natural iron oxide</p> <p> Density 4.6 ± 0.1 g/cm3</p> <p> Apparent density 0.9 ± 0.1 g/cm3</p> <p> pH-Value 8.0 ± 1</p> <p> Specific surface area 15 ± 0.5 m2/g</p> <p> Oil absorption 22 ± 1 g/100 g</p> <p> Conductivity 225 (± 75) µS/cm</p> <p> Humidity 0.2 ± 0.15 wt.%</p> <p> Loss on ignition (1000°C) 5.0 ± 1.5 wt.%</p> <p> Water soluble salts (Cl- + SO42-) ≤ 0.1 wt.%</p> <p> Opacity 100 %</p> <p> Relative tinting strength 100 ± 5 %</p> <p>∆E* CIELab parameter &lt; 0.5</p> <p>Particle Size</p> <p> Average particle size 1.25 ± 0.15 µm</p> <p> Maximum particle size 10 ± 1 µm</p> <p> Residue on sieve of 45 µm &lt; 0.01 wt.%</p> <p> &lt; 10 µm 100 %</p> <p> &lt; 8 µm &gt; 99.7 %</p> <p> &lt; 6 µm &gt; 98 %</p> <p> &lt; 4 µm &gt; 93 %</p> <p> &lt; 2 µm &gt; 79 %</p> <p> &lt; 1 µm &gt; 61 %</p> <p>Chemical composition (%)</p> <p> Fe2O3 80.0</p> <p> SiO2 7.8</p> <p> Al2O3 3.2</p> <p> CaO 2.1</p> <p> MgO 1.5</p> <p> K2O 1.0</p> <p> TiO2 &lt; 0.1</p> <p> P2O5 &lt; 0.1</p> <p> MnO &lt; 0.1</p> <p> Na2O &lt; 0.05</p> <p> CO2 3.4</p> <p> H2O (struct.) 0.9</p> <p> SO3 &lt; 0.05</p>

045.722

5/ 5

<h2 class="MsoNormal"><span>Dye for ebony wood</span></h2> <p>Ebony dye suitable for furniture and musical instruments.</p> <p class="MsoNormal"><span>Nero³ <span> </span>Original water-based concentrated extract for Ebony parts.</span></p> <p>This wonderful blend of pigments penetrates the wood quickly and perfectly masks the light grain of every wood already from the first applications. For permanent colouring processes, leaves a natural deep black on all wood parts such as Pegs, Fingerboards, Sadles and Nuts!</p> <p>Application- clean item thoroughly, remove grease and grime including old sealer or polish.</p> <p class="MsoNormal">Sponge on light coats. Let dry in between coats until Ebony is totally black.</p> <p class="MsoNormal"><span>Coverage approx. 180+ applications .<span>  </span>Professional Use.</span></p> <p>Designed by violinmakers with built-in applicator sponge.  50ml bottles</p> <h3>Our evaluation of the Ebony Dye - Nero³ - 50 ml</h3> <p>The Ebony Dye - Nero³ - 50 ml has been carefully evaluated by our team of experts at Grandi Liutai, and it is an excellent product for luthiers and craftsmen looking for a high-quality dye for their furniture and musical instruments. This dye has been specifically designed for ebony, a highly prized wood commonly used in the construction of musical instruments, luxury furniture, and other high-quality objects. We are happy to confirm that it is a product of the highest quality that guarantees a professional and long-lasting result. The Ebony Dye - Nero³ - 50 ml is easy to use and apply, and it perfectly meets the needs of the most demanding luthiers and craftsmen. Its water-based formula is safe and non-toxic, ensuring a safe and risk-free work experience. Additionally, this dye has an excellent ability to penetrate the wood surface, allowing for an intense and uniform color without leaving streaks or stains. We particularly appreciated the versatility of this dye, which can be used to tint and darken ebony, giving furniture and musical instruments an elegant and refined finish. The Ebony Dye - Nero³ - 50 ml also has excellent resistance to wear and water, ensuring a durable and high-quality finish. In summary, the Ebony Dye - Nero³ - 50 ml is a high-quality product that we highly recommend to luthiers, craftsmen, and anyone looking for a professional dye for their furniture and musical instruments. Its safe and easy-to-use formula, as well as its ability to penetrate deep into the wood and ensure a uniform and long-lasting color, make it the ideal choice for achieving a high-quality finish on precious materials like ebony.</p>

045.085

5/ 5

045.057