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《文物保护研究》2013,58(3):150-155
AbstractThe treatment of two silver bangles found at Rojdi and dated c. 2000 b.c. is described. The bangles were separated by removing the hard incrustations with a 20% sodium hexametaphosphate solution and 15% acetic acid. Silver chloride was removed with a 25% solution of 0.88 ammonia and a 20% aqueous solution of ammonium thiosulphate.Silver sulphide was removed in a 20% formic acid bath. Polyvinyl acetate was used for consolidation, and a coating of polymethyl methacrylate was applied. The silver was found to contain copper and lead. The causes of embrittlement and the manufacturing technique are discussed. 相似文献
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《文物保护研究》2013,58(4):255-256
AbstractResinous substances from Egyptian XIIth Dynasty tombs were analyzed by highperformance liquid chromatography (HPLC) and diode array detection. The unambiguous identification of two samples with actual standards of myrrh and mastic (Pistacia lentiscus) is described. They are characterized by comparison of their chromatographic patterns, the UV spectra of the main constituents and infrared data. 相似文献
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《文物保护研究》2013,58(4):231-254
AbstractAnalyses of pigments from palettes used by J.M.W. Turner (active c.1792–c.1850) by means of microscopy, microchemical analysis, thin-layer chromatography, energy-dispersive X-ray analysis, X-ray diffraction and Fourier transform infrared spectroscopy are given. The occurrence of pigments in Turner's dated oil paintings and watercolours is also given, arranged by five-year periods. These findings are discussed in the context of published analyses of pigments from the first half of the nineteenth century. Turner used cobalt blue, emerald green, viridian, orange vermilion, barium chromate, chrome yellow, chrome orange and chrome scarlet within a few years of their known dates of discovery. It has become clear that Turner was using, or at least experimenting with, practically all the pigments known to be available at that time. In a few cases, in the light of these results, ideas on the availability of pigments to English artists have been revised backwards to the first known date of manufacture. Turner also possessed and used a wide range of red and yellow organic pigments, but few organic greens. The dyestuff extracted from Rubia tinctorum L. madder on an aluminiumcontaining substrate can be distinguished from the same madder on different substrates by its strong pink fluorescence in both ultraviolet and green light. The other red organic pigments (a second madder, brasilwood and cochineal dyestuffs on a range of substrates containing aluminium, copper, iron, aluminium/copper and clays) show negligible fluorescence. The red organic pigments were used in oil medium as well as watercolour, the yellows only in watercolour medium. 相似文献
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《文物保护研究》2013,58(4):198-201
AbstractAn improved technique for the accurate reassembly of large plaster piece-moulds made in the field is described. The proposed method relies on the construction, within the main mould, of supporting detachable plaster arches which are accurately surveyed and planned in situ and subsequently easily reassembled prior to the making of the final cast. 相似文献
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《文物保护研究》2013,58(3):195-208
AbstractPyrolysis–gas chromatography was applied to the characterization of synthetic organic pigments. On pyrolysis, azo pigments and phthalocyanine blue yield characteristic fragments. These pyrolysis products were identified, and the mechanism of decomposition was studied. In the case of paint samples, the main pyrolysis products derive from the medium, although the presence of additional peaks enables azo pigments and phthalocyanine blue to be characterized. Some examples of the analysis of artists' paints are given and the peaks are identified. The main limitation of this technique is that it is impossible to detect chemically and thermally stable pigments, or inorganic components. 相似文献
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《文物保护研究》2013,58(1):16-22
AbstractThis paper discusses the technical examination of Christ in Martyrdom, painted in 1690 by Fra. Ricardo Pilar for the Monastery of São Bento, Rio de Janeiro, Brazil. The painting, which hangs in the sacristy, has recently been restored; this restoration and three previous restorations are described. The characteristic pose of Christ in the composition has been found in mediaeval German sculpture and was popular in Spanish painting in the sixteenth and seventeenth centuries. The techniques used for Christ in Martyrdom have been compared with contemporary Spanish and Portuguese treatises and selected paintings in the collection of the National Gallery, London, to illustrate Pilar's original style. The palette and the linseed oil medium are typical of Spanish painting and are likely to have been imported from Europe. 相似文献
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《文物保护研究》2013,58(4):176-188
AbstractThe non-saponifiable fractions of the principal drying oils have been examined by gas and thin-layer chromatography and found to be qualitatively similar though varying in the relative amounts of sterols present. In the case of aged paint films it has been found that these sterols have largely disappeared from unpigmented films and those containing light red and lead white as pigment, though they survive quite well in the presence of verdigris. Similarly cholesterol was not found to survive well in egg tempera films. Doubt is felt as to the value of such analyses as an approach to paint medium identification. 相似文献
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《文物保护研究》2013,58(1):54-55
AbstractBefore commencing the conservation treatment of a fifteenth-century coffered ceiling in the convent of Santa Fe, Toledo, the painting materials were analyzed. Elemental analysis of the pigments was carried out by XRF spectrometry. Cross-sections were made of the samples for optical microscopy. The binding media and the varnish were identified by gas chromatography, by analyzing the fatty acids, terpenes and amino acids. Once the painting had been studied, consolidation treatment was applied using different materials according to the solubility of the paint layers. Animal glue was mainly used, and Paraloid B-72 to a lesser extent, as a preliminary to the structural reinforcement of the support. 相似文献
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《文物保护研究》2013,58(1):51-62
AbstractThe conservation of non-metallic seals is an aspect of archival conservation which is all too often neglected.The authors show the most usual causes and forms of damage together with various methods of treatment. Among the aspects discussed are composition and manufacture; cleaning and repair of single and double-faced seals made of beeswax, shellac and other thermoplastic compounds; the conservation and repair of papered seals, together with seals and wafers applied en placard to documents; and methods of packing and storage used in the University of Glasgow Archives. 相似文献
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《文物保护研究》2013,58(4):327-369
AbstractThe restoration of the Hedin altar in Rothenburg o.d.T., dated 1466, is described. The polychromed sculptures were cleaned and loose paint was fixed. Methods and materials used in the restoration of the paintings, the areas polychromed in various techniques and the brocade reliefs are mentioned. The altar was protected from direct sunlight. The construction of the shrine and the technique of carving are extensively discussed. Sculptures made from one piece of lime wood were hollowed out and closed with a plank. Traces of rough finishing are visible. Shrine and predella were polychromed after a preliminary assembly of the sculptures. The various techniques used in the undisfigured polychromy are described as they are observed with the unaided eye. It can be shown that the working methods were rational. The fabrication of relief brocades and the various patterns used are discussed in detail. The treatment of the various paintings on the wings, the predella and the reverse of the shrine is reported. The question is raised to what extent the painter Herlin can also have been responsible for the polychromy. 相似文献
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《文物保护研究》2013,58(1):140-144
AbstractThis paper presents the program initiated to conserve the templete in the Mudéjar Cloister in the Royal Monastery of Our Lady of Guadalupe. The program included evaluation of the original materials, development of repair materials and design of a conservation program for the templete. The paper concentrates on the analysis and conservation of the stuccos of the templete, which is a typical mudéjar-style structure of molded brick with an exterior stucco finish. Samples of stucco from the templete were analyzed by microscopy, both reflected and transmitted light; acid digestion (gravim～tric analysis); water vapor transmission rate; and Fourier transform infrared spectroscopy. Samples of pigments and salts were identified by microchemical methods. Data from these analyses were used to develop a replication stucco mix and a grout mix that would be physically and chemically compatible with the existing materials. The process of developing the mixes is described. Application of these materials to the conservation of the templete is outlined. The stucco mix was used for repairing the upper stage of the templete, which was largely devoid of its original stucco coating, and the grout was used to stabilize the stuccos of the base, which were largely intact but detached from the underlying brick. 相似文献
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《文物保护研究》2013,58(3):226-244
AbstractThis study describes the examination and analysis of four mixed media paintings from the 1960s and 1970s by Canadian artist Jack Chambers (1931–1978). The documentary evidence about his materials and methods is summarized and compared with the results of analysis of multilayer paint samples. The combination of Fourier transform infrared spectroscopy (FTIR) and gas chromatography-mass spectrometry (GC-MS) allowed the components of the paint media to be characterized: ortho-phthalate alkyd resins, iso-phthalate alkyd resins, drying oils, dammar, Pinaceae resin, and turpentine were identified in varying proportions. Many pigments and fillers were identified by FTIR and Raman and are enumerated. The effect that Chambers’ complex technique has had on the aging and degradation of the paintings is discussed. The severe cracking of the paint layers in one of the four paintings may be the result of a high proportion of dammar and turpentine diluent mixed with the alkyd paint and may also be related to the type of alkyd resin medium. Different history and environmental conditions may also be factors. 相似文献
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《文物保护研究》2013,58(1):168-174
AbstractThe history, materials and technique of an early fifteenth-century wall painting, St Michael Weighing Souls, are described. The pigments are typical of mediaeval Spain but the methods by which they were applied show a sophisticated understanding of their optical properties. Complex mechanisms of deterioration in some areas of colour are discussed, together with the rationale, materials and methods used in the conservation treatment. 相似文献
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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
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《文物保护研究》2013,58(3):126-131
AbstractThe restoration of two early eighteenth-century marble statues by Antonio Corradini is described. Methylene chloride was used to remove plant stains. Sepiolite (magnesium silicate) and water drew out the dirt, and thick incrustations were removed with an ultrasonic dental tool. Incorrectly restored parts were remodelled according to contemporary prints, not in marble but using a casting procedure. 相似文献
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《文物保护研究》2013,58(4):177-182
AbstractA moulding of the Sutton Hoo ship impression was taken, so that a complete record could be preserved after the final excavations which would necessitate destroying the impression. Plaster of Paris was used as a moulding medium. Experiments were made with consolidants and release agents. Wet paper towelling was used as a barrier between sand and plaster, clay protected the iron rivets. Work began in the burial chamber and progressed to stern and bow. Pieces were made approximately 66 cm square and butted up to each other. Ribs of the boat were moulded separately in 7 or 9 pieces. There were 85 pieces moulded altogether. 相似文献
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《文物保护研究》2013,58(3):177-188
AbstractThe examination of the original polychromy of a fourth century B.C. classical Greek marble basin revealed a number of unusual pigments. In addition to natural cinnabar, and Egyptian blue, analysis has shown the presence of wild madder (Rubia peregrina) as the colorant in a purple pigment. This is one of the very few instances in which the use of madder as a colorant in classical painting has been established analytically. The white pigment was found to be neutral lead carbonate (cerussite). The use of this carbonate in painting is extremely rare. The yellow pigment was identified as misy (jarosite). The use of jarosites, iron sulphates, as pigments in painting has not been reported previously. 相似文献