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BY GIANCARLO GRAZIANI AND SALVATORE PRATO | Ce.St.Art. – Center for Studies of Art Economy
Titanium white, derived from minerals such as anatase and rutile, owes its color-providing properties to titanium dioxide. While its initial discovery traces back to 1821, it wasn’t until 1916, with the advent of modern technology, that mass production became feasible.
Contrary to popular belief, the invention of titanium white cannot be solely attributed to Dr. Auguste J. Rossi. Rossi’s contribution lies in his consultancy role for the Titanium Alloy Manufacturing Company upon his relocation to America. He holds numerous patents, spanning from 1898, covering titanium, titanium oxide, and titanium white. The official patent deposit for mass production of titanium white color dates back to 1913.
It’s crucial to differentiate the development of titanium white pigment from its subsequent patenting for industrial production, commencing around 1916. This marked the initiation of mass production by entities such as the Titanium Pigment Corporation in Niagara Falls, New York, and the Titan Company AS in Norway.
Scientific evidence corroborates the pre-patenting usage of titanium white in paintings. Historical records reveal its application in ceramic and porcelain manufacturing centuries prior to patenting. Notably, an off-white titanium pigment found utility in porcelain production since the 1790s, as documented in “The Sevres Porcelain Manufactory: Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847.” Its usage extended to royal factories in St. Petersburg, Berlin, and Meissen during the same period.
During the nineteenth century, the brilliance of titanium white intensified, and the adoption of patented formulas facilitated its widespread industrial production for artists. However, prior to this, an industrial-grade variant was already being manufactured in significant quantities for applications such as sinks, washbasins, and porcelain tiles. Artists also had access to this grade and indeed, the Impressionists, known for their experimental inclinations, utilized it.
Historical evidence supports the early adoption of titanium white by artists, dating back to the 1800s, as exemplified by:
- The discovery of the pigment on Camille Pissarro’s easel from the 1890s, where it was often mixed with other whites, notably lead white and zinc white.
- The works of Cézanne, who incorporated this compound white into his paintings.
- The presence of the pigment in John Singer Sargent’s 1882 painting “Oriental Cafe on the Riva degli Schiavoni.”
These instances underscore the artists’ familiarity with and utilization of titanium white well before its mass industrial production, highlighting its early significance in the realm of artistic expression.
The misconception that Titanium White exclusively features in paintings dating from the 1920s stems from a misunderstanding regarding the timeline of mass industrial production. As evidenced by the research of art historian Patricia Railing, renowned for her expertise in the Russian avant-garde movement, Titanium White had already permeated various artistic productions prior to the patent’s realization. This “confusion” underscores the importance of contextualizing historical developments within both industrial and artistic spheres to accurately trace the evolution and usage of pigments like Titanium White.
Titanium White in Paintings
Historical and Scientific Facts
Below is a summary of the historical insights concerning the discovery and utilization of Titanium White as a pigment spanning the period from 1795 to 1920. This chronological examination was conducted by the esteemed art historian Patricia Railing, and the detailed information is readily accessible online through the following links: painterspalettes.net/titanium-white and patriciarailingwrites.net
1795: Titanium was first discovered by Klaproth in 1795 and subsequently isolated by Liebig in 1831, who derived it from rutile. Titanium dioxide (TiO2), found naturally as rutile, is a white solid that exhibits a yellow hue upon heating. Referred to as “Titanium White,” it finds application in painting as well as in the production of enamels.
1887: Hippolyte Boulenger et Cie., a Faïencerie based in Choisy-le-Roi, was commissioned to manufacture two-thirds of the white ceramic tiles intended for installation on the walls of the Paris metro by 1902. It is purported that the exceptional whiteness of these tiles can be attributed to the incorporation of Titanium White in their production.
1890: Titanium whites utilized by early artists – A composite Titanium White was discovered on the outdoor easel of Camille Pissarro. This composite white, containing a blend of Titanium White, barytes, and china clay (kaolin) – components commonly found in porcelain paste or glaze – was identified through analyses conducted by Laurette Thomas of ArtAnalysis, Paris, in 2005. This finding represents the first documented instance of this pigment on a painter’s easel. Pissarro, a contemporary and friend to many Impressionist painters, passed away in 1903, suggesting that the pigment’s use could date back to the 1890s.
The transfer of a ceramic pigment to the easel of a French Impressionist painter forms a significant aspect of pigment history, reflecting a tradition of pigment migration across various artistic mediums since antiquity. Notably, many 19th-century metallic pigments, including chromes, originally emerged from the ceramics industry, highlighting the surprising lack of published history regarding Titanium White ceramic pigments. All of these developments occurred before the rise of a new industry around 1910: the industrial manufacturing of titanium oxide white.
1900: Louis Franchet showcases 250 ceramic pieces at the Universal Exhibition in Paris, many of which are adorned with colored titanium glazes.
1910: Experimental endeavors for the industrial production of Titanium White commence in Norway through the Titan Co, and simultaneously in Niagara Falls, New York, with the Titan Pigment Corporation.
1915: In Liubov Popova’s painting “Tray, Bowl, Fruit, 1915,” a composite white pigment (consisting of Zinc white, white Lead, and Titanium White) is identified. This composite white pigment, utilized for both the groundwork and visible elements, is prepared with artists’ pigments – zinc white and white lead – with a small addition of Titanium White. This innovation in painter’s pigments remains an underexplored phenomenon in research.
Since the late 18th century, the French government has advocated for the discovery of a white pigment to replace toxic white lead, detrimental to both production workers and artists due to its dust. Although zinc white gained popularity in the 19th century, it lacked the whiteness and density of lead pigment. Combining these two pigments and adding a small quantity of Titanium White not only enhanced the brightness and opacity of the mixture but also addressed these shortcomings. While the exact emergence of various mixed white pigments on painters’ palettes is challenging to pinpoint, examples from the 1890s among the French Impressionists suggest an early adoption.
1919: Despite initial contentment, chemists in both Norway and Niagara Falls express disappointment over the relative purity or whiteness of their pigments. It isn’t until 1919 that they achieve their objective of a true white pigment. In Norway, production commences in their expansive plant constructed between 1916 and 1917. Titanium White becomes a thoroughly industrialized product, reaching a production rate of approximately eight tons per week by 1922.
1920: Norwegian Titanium White, marketed as KRONOS, makes its debut in France and other markets worldwide.
© Giancarlo Graziani, Visiting Professor of Art Economy, Founder member and Supervisor of Ce.St.Art. – Center for Studies of Art Economy
© Salvatore Prato, Member of Ce.St.Art. – Center for Studies of Art Economy
All images were provided by the authors.
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The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post The Discovery of Titanium White: Brief History of the Pigment appeared first on World Art News.
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BY ALBERT CHEN
On March 20, 2024, at Bonhams Knightsbridge, a significant literary artifact changed hands as an uncorrected proof copy of “Harry Potter and the Philosopher’s Stone” by J.K. Rowling, dating back to 1997, was auctioned off. The item, which bore Rowling’s inscription and signature, sold for £35,840 ($45,000), falling within the pre-sale estimate range of £30,000-50,000 ($37,000-63,000).
The inscription, addressed to Catriona with the note “long time since I have seen one of these,” adds a personal touch to the sale, indicating a longstanding relationship between Rowling and the recipient dating back to the early stages of the Harry Potter series.
J.K. Rowling’s ascent from aspiring writer to literary sensation is a well-documented narrative. Prior to the global success of Harry Potter, Rowling faced numerous rejections and financial challenges. However, her perseverance eventually led to the creation of one of the most beloved book series in history.
The Harry Potter series marked the beginning of a cultural phenomenon that has transcended generations. With over 500 million copies sold worldwide and translations into numerous languages, the series continues to captivate readers of all ages with its magical world and timeless themes.
The auction of this rare signed copy underscores not only the enduring popularity of Harry Potter but also the appeal of rare literary memorabilia. Each page of this uncorrected proof copy offers a glimpse into Rowling’s early creative process, making it a prized acquisition for collectors. As the bidding concluded, the sale of this rare signed copy serves as a testament to the lasting impact of J.K. Rowling’s work and the enduring fascination with the world of Harry Potter.
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Story submitted by Bonhams. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
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A very rare first edition and author’s presentation copy of Charles Darwin’s groundbreaking work, “On the Origin of Species,” fetched an astonishing £305,200 ($384,000) at Bonhams Fine Books and Manuscripts Sale held on March 20, 2024. This price surpassed its initial estimate by over double, marking a significant moment in literary auction history. The auction saw a total sale of £1,308,337 ($1,648,000), with an impressive 93% of the lots sold by volume and an astounding 99% sold by value.
Darwin’s seminal work on evolution, first published in 1859, was limited to just 1,250 copies. Among these, an esteemed few were presented by Darwin himself to individuals he held in high regard. One such recipient was Dr. Hugh Weddell, a distinguished British-born botanist and physician. The manuscript list of persons to receive copies of the first edition of “On the Origin of Species,” compiled by Darwin between August and October 1859, included Dr. Weddell’s name.
Matthew Haley, Managing Director and Head of UK Books & Manuscripts at Bonhams Knightsbridge, expressed his delight at the remarkable outcome of the auction. “We are absolutely delighted with this result,” he said. “The interest in this edition is not surprising given only a few dozen copies were presented by Darwin to his circle. This book is regarded as one of the most important scientific works in history.”
Aside from the success of Darwin’s work, the auction also featured noteworthy results for pieces by Argentinian short-story writer, Jorge Luis Borges. An autograph manuscript of Borges’s short story ‘Funes el memorioso’, circa 1942, fetched an impressive £70,250, over 14 times its estimated value. Similarly, Borges’s annotated copy of the first edition of “The Aleph” from 1949 sold for £35,840, surpassing its estimate by over eight times.
Among other highlights of the auction were a cabinet portrait photograph of Fyodor Dostoevsky signed and inscribed by the author himself, which sold for £76,600, over double its estimate. Additionally, a Māori Land Transaction document signed by fifteen Māori chiefs from September 1826, representing an early attempt at the colonisation of New Zealand, fetched £53,740.
Also featured was an uncorrected proof copy of the first edition of J.K. Rowling’s “Harry Potter and the Philosopher’s Stone,” inscribed and signed by the author, which sold for £35,840. An illuminated manuscript titled “Recueil de pieuses prières” by Ferdinand and Charles De Pape, dated 1908, sold for the same amount, representing an exquisite example of neo-medieval illumination.
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Story submitted by Bonhams. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Rare First Edition of Darwin’s “On the Origin of Species” Sells for Double Estimate at Bonhams Auction appeared first on World Art News.