This product gives deep even bluing of gun barrels and other metal parts.

You can re-blue worn and scratched gun barrels with this easy to use cold bluing method.

Traditional hot bluing methods work best where major work is required but for minor areas Abbey Blu Gel is an inexpensive, viable and easy to use alternative

Birchwood Casey offers you the best ways to touch up scratches and worn spots or even completely reblue most guns. It will give a non-streaky, even blue-black finish to steel (except stainless). Both Perma Blue Liquid Gun Blue and Paste Gun Blue provide great blueing to metal that has already been thoroughly cleaned and is free of rust. Perma Blue Paste Gun Blue is slower to darken than Liquid Gun Blue, but will build up a denser finish. NOTE: PERMA BLUE Liquid Gun Blue will not blue stainless steel, aluminum or non-ferrous metals.

13322 - 2 oz net wt, Squeeze Tube (Paste)

Specially formulated to remove dirt, fouling, grease and oil quickly and easily.

It’s a safe, easy and effective way to clean your gun thoroughly after a day at the range or in the field, or as a preparatory metal cleaner for blueing or browning.

Thorough cleaning and degreasing is a necessary step before blueing or browning and the Birchwood Casey Cleaner - Degreaser  is the perfect solution.

Tub contains 3 OZ (90ml) of liquid.

Is your gun in need of a little TLC? Look no further than the Birchwood Casey All-In-One kits.
 

Features:

• Controls glare
• Dries instantly
• Harmless to precision sights and all finishes
• Handy snorkel tube controls spray
• 8.5 oz aerosol can

The best wax polish on the market for all knives and tools. Universally accepted as a standard conservation product by museums worldwide. The perfect product to use before storing your knives for long periods of time.

Renaissance™ wax polish was originally formulated in the British Museum research laboratories in the early 1950’s, in response to a discussion amongst museum technicians at an international conference on fine-art conservation.

In accelerated ageing tests, the British Museum scientist found that all current commercial waxes based on the usual natural waxes (beeswax and carnauba wax) contained acids which, in time, could spoil original finishes on national historic collections of furniture. He rejected them all and investigated the new so-called ‘fossil’ or microcrystalline waxes being refined out of crude oil. With their distinct characteristics depending on their geographical origins, the new ‘man-made’ waxes could be accurately blended to meet the needs of many industries, from cosmetics and pharmaceuticals to heavy engineering. Thus, the waxes combined Nature’s best qualities with the advantages of modern technology.

The blend which emerged from that research was ‘designed’ for long-term protection of all classes of museum exhibits. At last, museum technicians and others caring for important collections could use wax polish that neither caused future conservation problems nor detracted from the intrinsic values of their treasures.

Commercial production and distribution of the polish was ultimately undertaken in 1968 by the London-based company Picreator Enterprises Ltd. under its trade name ‘Renaissance’. The product was quickly accepted in the international museum world and has become a universally respected standard conservation material – probably the most widely specified because of its almost unlimited uses.

What makes Renaissance wax so different?

It has a crystalline structure much finer than totally natural waxes, a property that confers a highly efficient moisture resistance. Countless statues and monuments in city streets are now protected by Renaissance wax from weathering corrosion. Arms and armour, steel and kitchen equipment of brass and copper in historic house museums, are kept bright and corrosion-free.

When thinly applied and rubbed out to full lustre, the wax film is (and remains) glass-clear, with no discoloration either of the wax or the underlying surface. Renaissance wax is free from acids (pH neutral) and will not damage even sensitive materials. For example, photographs for exhibition or of historic value are waxed to protect the image from the natural acidity of hand or environmental pollutants. The wax does not stain or darken even white paper.
On furniture or wood carvings the wax delicately enhances grain or ‘flame’ patterns. It protects existing finishes such as french polish and can also be applied directly to sanded, unfinished hardwoods without need of sealers.Waxing is the last process in hand-made furniture and in the creation of wood, stone or metal sculptures. But it is the first aspect to be appreciated by hand and eye. The clarity and lustre of Renaissance wax makes an instant visual appeal.
The silk-smooth touch of the matured wax film gives added pleasure, compared to the ‘drag’ of fingers leaving trails across the softer beeswax polishes.

No matter how often the wax is used there is no loss of clarity, so that fine surface detail is never obscured. Repeated use of the wax deepens the lustre, reflecting more light from surfaces and making them more ‘lively’.

Picreator receives hundreds of enquiries from around the world asking if Renaissance wax is suitable for a specific surface or project. Invariably the answer is ‘yes’. Its unique qualities make it ideal for protecting all surfaces from environmental attack or handling. The wax is, for example, replacing the preservative oiling of arms and armour in museums. The wax film is hard and dry and does not, like oil, remain sticky and attract atmospheric acidity. Exhibits are more comfortable to handle.

Renaissance wax is used by customers in the following ways: To protect metals such as silver, brass and copper from tarnishing, on collections of all types of metals (old coins, locks and keys, arms and armour both original and replica), on both the wood and metal surfaces of vintage cars and musical instruments, on bronze sculptures inside the home and outside exposed to the elements, on marble and granite worktops to prevent staining and on smooth leather items. These are just some of the applications the wax has been used on.

A gently abrasive paste for non-scratch cleaning of metals and many sensitive fine-art surfaces. A fantastic choice for thorough cleaning of your knives and tools.

Pre-lim is widely used in the professional restoration of arms and amour, sculpture, brass and copper exhibition cookware, ceramics and automobile paintwork.

Formulation is based on blended Neuburg silica chalks in a water/white spirit emulsion. In normal use the product is not a health hazard.

Pre-lim’s cleaning/burnishing action is achieved with extremely fine control using a soft rag and light pressure. After a few minutes of air-drying, the residual chalky deposit is easily rubbed away with a clean rag, leaving surfaces dry and silk-smooth.

To ensure that cleaned surfaces, especially metals, remain clean and bright, protect them with our glass-clear Renaissance micro-crystalline wax polish for a long-lasting and visually-enhancing finish.

When stored in its air-tight container at room temperature or colder, Pre-lim has an excellent shelf life.

As is customary in professional restoration, a discreet test is advised to ensure that Pre-lim is suitable for specific projects. Not suitable for use on precious metals such as silver.

Safe, Non-toxic System for Rust Removal with Full Control

Amine complex of hydro-oxycarboxilic acid in aqueous solution. pH: approx 4.0

SCOPE: iron, bronze, copper and copper alloys, brass, steel, zinc and galvanised materials. Also effectively cleans scale and rusty water stains.

Treatment selectively ruptures the bond between base metal and corrosion layer, reducing rust to a sludge which is easily wiped or brushed away. Clean-water rinse stops the process.

Even relatively prolonged immersion over several days has no significant effect on sound metal, thus giving the conservator complete control over the process – and freedom from it.

The totally benign nature of the product eliminates work and health hazards associated with common de-rusting systems such as those based on phosphoric and hydrochloric acids. Gloves, masks or protective clothing are not required; normal ventilation and common-sense hygiene procedures should be observed.

Following treatment, metal surfaces are stabilised for up to 14 days, giving ample time for applying long-term protection (such as Renaissance micro-crystalline wax polish, which confers a tough – but reversible – glass-clear lustrous finish).

Bi-metallic electrolytic effects between dissimilar metals are insignificant in treatment periods of up to 48 hours. There is no attack on zinc coatings, excepting greatly prolonged immersion.

Treatment is most effective at temperatures between 10ºC and 20ºC. Colder solutions slow the action still further – a useful quality when objects are left immersed over a weekend. Contrast this safe, gentle handling of metals with the more vigorous, often deleterious action of mineral acids.

Loose rust or scale should be wire-brushed and surfaces de-greased to allow optimum performance. Immersed objects will be clear of light corrosion in as little as two minutes. During longer immersion for heavier rusting, periodic checks can be made by rubbing the object with a finger. Brushing speeds the process.

Storage and treatment vessels of mild steel, porcelain, rubber, polythene or other plastics are suitable. Galvanised, tin, zinc or lead-lined tanks are NOT suitable.

After use of the solution, separate it from any sediment by siphoning into a clean container and top up occasionally with fresh solution. The product remains effective for many weeks.

**Actual packaging may vary.