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1.
《文物保护研究》2012,57(1):59-64
ABSTRACTWe analyzed 53 historical textile samples from a collection of caftans and brocades dating between the sixteenth and nineteenth century in the Topkapi Palace Museum (TPM) by scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX). Data were collected on the type, dimensions, elemental composition, and level of corrosion. The technique is presented in this work as an efficient and micro-destructive tool for the characterization of the structure of historical metal threads. SEM-EDX analysis for different energies was performed on a selection of gold and silver threads belonging to the historical textiles. The results were interpreted via laboratory prepared samples of gilt Ag and sulfur reacted Ag at different thicknesses for Au and Ag2S layers respectively. A series of Au–Ag alloys for different Au/Ag ratios were prepared for comparative analysis. The threads were made of metal strips wound around a silk core. Metal wires and flat strips were also used. The use of differential energies allowed for differentiating strips and wires made of homogeneous silver and gold alloys from the ones coated with a thin gold layer. Analysis of EDX data revealed that the Au film thickness was very thin (10–60?nm). Formation of Ag2S layers over the thin Au film as thick as 1.5?µm was taking place. Formation of thinner Ag2S layers over non-gilt Ag suggested different reaction mechanisms for gilt and non-gilt cases. 相似文献
2.
ABSTRACTHistorical pedal harps from the early nineteenth century are highly adorned objects, decorated with various techniques such as polychromy, gilding, decoupage, and gilt composition ornaments. Even though a large number of such instruments are kept in private and public collections, until now their decorative features have not been examined systematically. Moreover, little has been written about the motives behind the choice of various decorative techniques by harp makers. This article presents results from the investigation of a double-action harp made in 1818 by Erard, the leading manufacturer of harps in Regency London, focusing on the technological aspects of its decorative features. Various analytical methods, such as visual examination, microscopy, SEM-EDX, FTIR, and Py-GC-MS, were used to identify the inorganic and organic components in the coating of the harp and to analyse its stratigraphy. Inspection with ultraviolet light revealed details of the original layers and of later additions, while radiography made the internal structure as well as damaged areas and repairs visible. The outcome of this object-based examination was complemented by archival research on the Erard firm, providing new insight into Erard’s production and marketing strategies. 相似文献
3.
Birgit Angelika Schmidt Martin Andreas Ziemann Simone Pentzien Toralf Gabsch Werner Koch Jörg Krüger 《文物保护研究》2016,61(2):113-122
A great number of Central Asian wall paintings, archeological materials, architectural fragments, and textiles, as well as painting fragments on silk and paper, make up the so called Turfan Collection at the Asian Art Museum in Berlin. The largest part of the collection comes from the Kucha region, a very important cultural center in the third to ninth centuries. Between 1902 and 1914, four German expeditions traveled along the northern Silk Road. During these expeditions, wall paintings were detached from their original settings in Buddhist cave complexes. This paper reports a technical study of a wall painting, existing in eight fragments, from the Buddhist cave no. 40 (Ritterhöhle). Its original painted surface is soot blackened and largely illegible. Grünwedel, leader of the first and third expeditions, described the almost complete destruction of the rediscovered temple complex and evidence of fire damage. The aim of this case study is to identify the materials used for the wall paintings. Furthermore, soot deposits as well as materials from conservation interventions were of interest. Non-invasive analyses were preferred but a limited number of samples were taken to provide more precise information on the painting technique. By employing optical and scanning electron microscopy, energy dispersive X-ray spectroscopy, micro X-ray fluorescence spectroscopy, X-ray diffraction analysis, and Raman spectroscopy, a layer sequence of earthen render, a ground layer made of gypsum, and a paint layer containing a variety of inorganic pigments were identified. 相似文献
4.
Discoloured 18-carat gold decorations from Sweden have been analysed by scanning electron microscopy with energy dispersive X-ray spectroscopy and X-ray electron spectroscopy (XPS)/electron spectroscopy for chemical analysis (electron spectroscopy).The original gold composition was close to 75% gold, 13% silver, and 12% copper. After manufacture, many details were boiled in sulphuric acid. As a consequence of this, the surfaces are irregular and porous with a gold concentration around 90% and with less than 1% copper. With XPS the outermost 10–20 atomic layers could be examined. No copper was present here, and the silver concentration was significantly higher. Also carbon, sulphur, oxygen, and (in one case) chlorine were present. The valence numbers indicated that gold only occurred in its metallic state, while silver (as Ag+) was preferably associated with sulphur to form black silver sulphide (Ag2S). The grey discolorations are basically due to silver sulphide and organic dirt. Sometimes green, violet, and ‘copper-shining’ colours occur, presumably as a result of light refraction phenomena. 相似文献
5.
《文物保护研究》2013,58(1):135-139
AbstractBibliographical research and scientific analysis of samples obtained from five polychrome wooden sculptures of the colonial tradition in Guatemala were used to study the techniques and the materials used. The methodology involved qualitative analysis of the samples and microscopic examination of cross-sections. Scanning electron microscopy (SEM) was used to identify pigments and to ascertain the composition of the gilding. It was hypothesized that the deterioration of the sculptures, particularly the separation of the ground layers from the wooden support, was due to the action of secondary products of Cedrela odorata L. The loss of adhesion of the animal glue used in the preparation may be partly related to the precipitation of the protein of the gelatin due to the action of the tannins present in the wood. 相似文献
6.
Maria Vera Quattrini Marcella Ioele Armida Sodo Gian Franco Priori Daila Radeglia 《文物保护研究》2014,59(5):328-340
A Japanese painting on paper, in the form of a horizontal scroll from the Stibbert Museum in Florence, is being treated at the ISCR Paper Conservation Laboratory. The scroll, entitled Bamo Dōi-zu represents 33 different types of horses. Although there is no author's seal, it has been attributed to the famous Japanese artist, Kanō Sansetsu (1589–1651). Before conservation treatment, the artefact underwent technical and scientific examination in order to identify its materials and determine its conservation condition. As sampling paint layers from paintings on paper is extremely invasive, non-destructive techniques such as X-ray fluorescence spectroscopy, Raman spectroscopy, Fourier transform infrared spectroscopy, and spectrophotometry were employed. Several points from the paper support were analysed: the metal-leaf decorations, the seals and calligraphy, as well as the painted horses. Results detected and revealed a very simple palette: cinnabar (or its synthetic equivalent vermillion), shell white, carbon black, and the organic yellow gamboge. Pure gold and silver leaves were used for decorating the frontispiece. Useful information was obtained from the paper support and on its conservation conditions. Micro-destructive analyses were also performed on a few paper fragments for microscopic and scanning electron microscope equipped with an X-ray probe analysis. Results showed that materials and techniques are consistent with the Kanō School period. 相似文献
7.
ABSTRACTAiming at contributing to the preservation of black and white (B&W) film-based negatives held by Portuguese archives, four photographic collections from the first half of the twentieth century were selected for study. During the macro assessment of the collections the preservation condition and hues found in photographic negatives from the Elmano Cunha e Costa (ECC) were noticed, distinguishing this collection from the remaining ones. Additional attention was given considering that the ECC collection was formed in a colonial context in the 1930s, while the others were formed on the Portugal mainland. The ECC collection results from an ethnographic survey of Angolan tribes recorded with B&W film-based negatives. In this collection, sets of negatives with pink, lemon yellow, greenish, orange brownish, and red brownish hues were found. To identify the origin of such hues, the image layer was analysed by microscale energy-dispersive X-ray fluorescence (μ EDXRF) and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX). Additionally, to assess the base decay and its effect on the formation of hues, the plastic supports were characterized by Fourier transform infrared microscopy (μ FTIR). To complement the assessment of the film-base decay, pH was measured by using combined microelectrodes. The identification of mercury, iodine, chromium, and iron by μ EDXRF allowed correlation of the hues found in the negatives with chemical corrective treatments performed to improve the image quality. SEM-EDX confirmed those results and proved that the elements found were in the photographic emulsion layer. The results obtained are relevant since the hues identified may now be used as markers to indicate the technical work performed on colonial photography. Additionally, the visual and molecular assessment of the negatives’ supports (good to fair condition) allow proposing that the original storage conditions may have had a beneficial contribution to their present condition. 相似文献
8.
Iron ore as pozzolanic filler is an uncommon constituent of historic plaster rarely reported in any research. This paper presents one such study from western India where hematite instead of crushed bricks was identified as admixture in thirteenth–sixteenth-century CE Mughal masonry lime works of Daulatabad Fort. The outer/inner coat plasters from different locations of the fort were examined for morphological, mineralogical, chemical, and basic physical properties. The analytical investigative study was performed by optical microscopy, sieve analysis, X-ray fluorescence, X-ray diffraction, Fourier transform infrared spectroscopy, Raman spectroscopy, SEM-EDX, and thermal analyzer. Although the plaster is dominantly made of micritic calcite and aggregate, incorporation of gypsum in the outer and inner coats has been detected and probably acted as a second binder. Cannabis sativa was mixed in the plaster, pointing to the knowledge of hempcrete technology by the makers of Daulatabad Fort. This investigation has now provided essential information with enough precision about this historic plaster for formulation of compatible repair materials essential for the site restoration. 相似文献
9.
Birgit Schwahn 《文物保护研究》2014,59(3):161-179
Two sixteenth-century Limoges painted enamel plaques by Léonard Limosin in the collection of the J. Paul Getty Museum, Los Angeles, show a remarkable restoration technique consisting of separately enameled pieces that have been inserted into areas where original enamel was lost. A detailed investigation of the two plaques brought information about this former restoration method and the materials used. Investigation included optical microscopy, UV-A examination, and X-radiography for identification and mapping of the insert restorations, scanning electron microscopy with energy dispersive X-ray spectroscopy, Fourier transform infrared spectroscopy, and gas chromatography-mass spectroscopy for analyzing organic restoration material as well as X-ray fluorescence for studying the enamel compositions. A survey of six other Limoges painted enamel collections in the USA was carried out, which revealed many more of these insert restorations and indicated particular damages related to the so-called paillon designs on silver or gold foils. A literature review was undertaken focusing on possible causes of the damage as well as on persons and workshops that may have executed the insert restorations. 相似文献
10.
《文物保护研究》2013,58(3):204-215
AbstractThree paintings from a group of thirty-two attributed to Jackson Pollock (1912–1956) were examined at the Harvard Art Museums. Paint samples were examined using Raman spectroscopy, scanning electron microscopy–energy dispersive X-ray spectrometry (SEM-EDX), laser desorption ionization time-of-flight mass spectroscopy (LDI-MS), Fourier transform infrared spectroscopy (FTIR), pyrolysis–gas chromatography–mass spectrometry (py-GCMS) and carbon-14 (C-14) dating. Carbon-14 dating detected no 'bomb' carbon from atmospheric atomic testing. All three paintings contained pigments and media available only after Pollock's death, including PR 254, PY151, and an emulsion copolymer of n-butyl methacrylate and iso-butyl methacrylate. 相似文献
11.
《文物保护研究》2013,58(3):185-193
AbstractThe two Stangengläser, tall cylindrical vessels from the beginning of the seventeenth century, are described in detail. The severely damaged Stangengläser, decorated with diamond-point engraving and cold-painting, were challenging to treat. Research preceding the conservation revealed differences in decorating techniques. Samples of the paint layers were analyzed using micro-Fourier transform infrared spectroscopy. Two layers of resinous varnish with a middle layer of paint containing a plant gum were found on the Stangenglas with Allegory of Caritas and Zierotin coat of arms. In the plain paint layer of the Stangenglas with dancing couples, egg white was identified as the binder. The glasses, analyzed using scanning electron microscopy with energy dispersive X-ray spectrometry, had similar potash–lime–silica compositions, which seems to be characteristic for glass from Bohemian lands. Results of analysis contributed to the discussion about the possible provenance of the Stangengläser, the glassworks at Wilhelmberg, South Bohemia. 相似文献
12.
This paper arises from a wider research project focussed on Portuguese gilded altarpieces and sculptures of the Baroque period, which also involved research into contemporary documents and into historical context, as well as into the history of use of materials and practices in gilding technology. It focuses on the results from analyses of historical samples and samples from archaeological reconstructions of gessoes and gilded surfaces. Analytical and experimental research shed light on diverse aspects of the technology of gilding grounds, such as range and composition of materials within historical objects, methods of production of gilding materials, gilding practices, actual performance of materials and gilded surfaces, and the science underlying the artists’ empirical choice of materials and practices. The documentary research (discussed in Part 1) elucidated the analytical and experimental research presented here, and vice-versa, resulting in a richer and more balanced understanding of the gessoes and of the motives of the people involved in their production. It is hoped that the results will inform future technological studies and conservation decisions. 相似文献
13.
《文物保护研究》2013,58(2):112-115
AbstractThe present work demonstrates by means of two practical examples the extreme importance of examination of cross sections of metal threads to obtain an overview of their structure and of the different materials employed in their manufacture. Problems that might be caused by disturbance of surface features during polishing were prevented by covering the sample before embedding with a layer of nickel, using electroless deposition. Results from scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM-EDX) showed that, although the mean chemical composition of both metal wires is the same, their metallurgical structure is completely different: one consisting of pure silver with inclusions of copper particles and the other a silver–copper alloy. 相似文献
14.
The subject of the research is an oil painting entitled Idyll created using an unusual technique. The painting layer was applied on canvas covered with photosensitive medium on which a photograph was developed. The results of the examination of Idyll in the context of its attribution to Henryk Siemiradzki (1843–1902) are discussed. Its atypical technology and the possibility of the artist having used the photographic technique are also considered. X-ray fluorescence spectroscopy, infrared spectroscopy, and scanning electron microscopy were performed to establish the technique and to characterize the pigments and materials used in the painting. The identified pigments and the information provided by analytical photography (UV, X-ray images) were compared with the results of the detailed examination of 56 of Siemiradzki’s oil paintings. Performed analyses revealed that the majority of the features identified in Idyll point to Henryk Siemiradski’s technique. 相似文献
15.
AbstractThe painting materials used by Lucio Fontana were investigated through the analysis of 28 Spatial Concept works created between the early 1950s and the artist's death in 1968. The pictorial media were analyzed by means of numerous techniques including Fourier transform infrared spectroscopy, pyrolysis-gas chromatography–mass spectrometry, scanning electron microscopy, and X-ray fluorescence. This study has provided a more complete understanding of the artist's technique, as it was found that Lucio Fontana had already begun experimenting with new synthetic pictorial and binding media such as alkyds and polyvinyl acetates at the beginning of the 1950s, and polyesters during the early 1960s. Although he never abandoned the use of commercial oil paints, Fontana's application of these new materials continued in an infinitely varied search for innovative expressive effects. The characterization results explain the physical and mechanical properties of the paint layers, and may be correlated with the conservation state of the works analyzed. All the results have been compiled and are discussed together with the artist's practices and their evolution over time. 相似文献
16.
《文物保护研究》2013,58(1):175-178
AbstractThe sculpture of St Gines de la Jara in the collection of the J. Paul Getty Museum, dated 1692, is an outstanding example of the estofado technique of imitating brocade in gold leaf and paint. The life-size figure retains most of its original polychromy. In previous restoration treatments, there had been an unsuccessful attempt to simulate the estofado. The present treatment included a comprehensive technical examination, using X-radiography to identify construction techniques and cross-sectional analysis for the layer structure and materials. The decoration of the sculpture was carefully studied with the goal of understanding more clearly the technique of the estofador. A cleaning strategy was then devised. Where there were losses in the estofado, it was decided to aim for a chromatic compensation using watercolours, rather than attempting to duplicate the original process. 相似文献
17.
Anabelle Križnar 《文物保护研究》2014,59(5):289-299
One of the most important artistic circles in the first half of the fifteenth-century in Austria was the so-called ‘Older Villach's workshop’, founded by Frederic of Villach, a painter who was considered a master of fresco technique. A technical study was made of a number of wall painting cycles by the workshop of Frederic of Villach, first, to gain a broader knowledge of the painting techniques employed, and second, to allow comparison with a further group of wall paintings in Slovenia, which are stylistically related to this workshop and have been studied previously. Of special interest were artworks attributed to Frederic's son Johannes of Ljubljana and a number of other anonymous painters that show important similarities to Frederic's works. Samples of plasters and pigments were analysed by optical microscopy, scanning electron microscopy with energy dispersive X-ray spectroscopy, Fourier transform infrared spectroscopy, and X-ray diffraction. An important difference in the composition of plasters was discovered between the selected artistic groups. The palette used comprised predominantly earth and other mineral pigments. The construction of the paintings from incisions and preparatory drawings to the final modelling is basically similar and shows workshop connections. The principal painting technique was a fresco. The results contribute to a wider knowledge concerning the materials and techniques employed in gothic wall paintings in the Alpine region and offer new information that can be used to inform the future conservation of these selected wall paintings. 相似文献
18.
The objective of this study was to assess corrosivity of the atmospheric environment in the former Auschwitz I and Auschwitz II-Birkenau concentration and extermination camp, and to identify the protective properties of existing corrosion products in order to estimate the actual corrosion rate of original steel elements located there. The current atmospheric corrosivity of the former Auschwitz camp, specified during one year of exposure of steel samples according to the EN ISO 12944-2 (1998) standard, was determined and it can be described as a boundary between the low C2 and medium C3. The steel corrosion rate in these conditions was in the range of 14–34?µm/year with the average rate of 27?µm/year. A layer of corrosion products formed on uncovered original reinforcement steel rods during ca. 70 years of atmospheric exposure was examined in terms of their protective properties with respect to steel. The microstructure, chemical composition, and elemental chemical state were analyzed by means of scanning electron microscopy equipped with energy-dispersive X-ray spectroscopy, X-ray photoelectron spectroscopy, and X-ray diffraction. Potentiodynamic polarization and electrochemical impedance spectroscopy methods were employed to investigate the corrosion resistance of the carbon steel covered with a layer of corrosion products. It has been estimated that this layer slows down the corrosion rate of steel by about five times. Hence, it can be concluded that the corrosion rate of the original steel parts under the layer of corrosion products should not exceed 7?µm/year. 相似文献
19.
Teresa P. Silva Maria-Ondina Figueiredo Maria-Alexandra Barreiros Maria-Isabel Prudêncio 《文物保护研究》2014,59(2):63-68
Decorative panels of ceramic glazed tiles comprise a valuable cultural heritage in Mediterranean countries. Their preservation requires the development of a systematic scientific approach. Exposure to an open-air environment allows for a large span of deterioration effects. Successfully overcoming these effects demands a careful identification of involved degradation processes. Among these, the development of micro-organisms and concomitant glaze surface staining is a very common effect observed in panels manufactured centuries ago. This paper describes a study on the nature of green stains appearing at the surface of blue-and-white tile glazes from a large decorative panel with more than one thousand tiles, called Vista de Lisboa that depicts the city before the destruction caused by the 1755 earthquake. The characterization of green-stained blue-and-white tile glazes was performed using non-destructive X-ray techniques (diffraction and fluorescence spectrometry) by directly irradiating the surface of small tile fragments, complemented by a destructive scanning electron microscopy (SEM) observation of one fragment. Despite the green staining, analytical X-ray data showed that no deterioration had occurred irrespective of the blue or white color, while complementary SEM-EDX data provided chemical evidence of microorganism colonization at the stained glaze surface. 相似文献
20.
《文物保护研究》2013,58(4):145-161
AbstractFor the study of Italian paintings and their techniques the examination of the binding media (glue, egg, oil) has considerable importance, but with the usual scientific methods of analysis the results have never been conclusive. Each sample may include more than one layer of paint and many constituents; egg yolk alone contains protein, oils, cholesterol. In the present project, in order to identify these diverse materials and also to eliminate interference from contamination (glue, wax or oil) used in later restoration processes, it was decided to mount original paint samples, including a bit of the ground, as cross-sections in a polyester resin embedding material and then to make the constituents visible under the microscope by using selective staining techniques. Only in this way could the foreign materials be distinguished from the original and the structure of the original layers be understood. Finally, other tests such as the fluorescent antibody technique and thin-layer chromatography could be applied to confirm the results of the staining. In removing over 500 specimens fronl paintings in the Walters Art Gallery precautions were taken to assure sample authenticity, and during the testing at the University of Michigan careful methods of standardization and control were devised, using both fresh and old samples of egg tempera and oil. Two stains, Ponceau S for protein and Sudan Black B for oil, provided the most workable means of identifying the binding media in the majority of the samples studied. A final report will have to await correlation of the material, but certain observations may be made at this stage: (a) 14th century, in primarily tempera paintings a limited use of oil was found associated with a specific green pigment, copper resinate; (b)15th century, the majority of the paintings were entirely of egg tempera, but layers containing oil in the underpainting or in the above-mentioned copper green occurred more frequently; (c)16th century, egg tempera was not replaced by oil, but both were used in a complex layering technique, the media varying layer by layer and area by area; (d)17th century, the mixed technique gradually declined, but egg tempera continued to be associated with the painting of flesh and occasional highlights. 相似文献