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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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David A. Scott 《文物保护研究》2018,63(4):215-235
Nine ancient Egyptian sarcophagi of the twenty-fifth to twenty-sixth dynasty, one Ptolemaic Hawk Mummy, and one Amarna fresco were examined in the collections of the San Diego Museum of Man. Binding media, pigments, wood identification, deterioration and alteration products were identified. The pigment palette represents the basic suite of ancient Egyptian pigments: charcoal black, red ochre, yellow ochre, Egyptian blue, green earth, calcite, and gypsum. In the case of the Hawk mummy, oxammite was identified as a degradation product, together with magnesium phosphate, the first identification of oxammite in ancient artefacts. In a child’s coffin, realgar and orpiment were additionally identified. The binding media for practically all of the coffins studied was confirmed as gum Arabic with only one example of gum tragacanth found from a wall plaque from Amarna. Wood identification showed that Ficus sycomorus had been used, rather than the assumed cedar of Lebanon for coffin manufacture. One unidentified species of shrubby wood was also found. Some of the coffins had been restored, with one having a completely repainted face, in rutile, and the child’s coffin has an attached foot-box with modern screws. Possible indications of ancient reuse were found during the study. 相似文献
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A sodium copper formate, first described in 2002, can also form on copper alloys with sodium originating from soda glass hydrolysis. The frequent occurrence (50% of 250 cases of glass-induced metal corrosion) is due to the presence of formaldehyde emissions in storage and its direct reaction to formate in the alkaline surface films. The compound can be produced without the presence of acetate when chalconatronite or metal coupons immersed in soda solution are exposed to formaldehyde vapours. The crystal structure, derived from X-ray powder diffraction, yielded the sum formula Cu4Na4O(HCOO)8(OH)2·4H2O. Except for the absence of acetate in the structure, this is in good agreement with the 2002 publication. To assess which kind of combined glass/metal objects are affected, a number of large museum collections were surveyed. Sodium copper formate was detected as a corrosion product using mainly micro-Raman spectroscopy, for instance, on 18 painted Limoges enamels, eight glass vessels with metal mountings, glass beads on metal wire from 11 bridal crowns, nine Christmas tree balls with wire decoration, 40 pieces of jewellery with glass gems, three daguerreotypes, and one miniature with cover glasses. 相似文献
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A technical study was conducted on a group of copper alloy artifacts excavated from the burial tumulus of Lofkënd (fourteenth–ninth century BCE) to identify the alloy compositions and methods of manufacture. The surface corrosion was also examined in order to understand the diagenetic processes affecting the preservation of the finds and their condition. Portable X-ray fluorescence spectroscopy, metallographic examination, and X-ray powder diffraction (XRD) analysis were used to characterize the alloy composition and identify the corrosion products present. XRD analysis showed the presence of brochantite (Cu4SO4(OH)6) on five of the metallic artifacts. Brochantite is not commonly reported on archaeological bronzes from terrestrial sites, but is more readily found on copper alloy objects exposed to sulfur pollutants in the air or soil. The possible conditions that could have led to the formation of this corrosion on the bronzes from Lofkënd are discussed in the context of the particular burial environment found at the tumulus. 相似文献
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《文物保护研究》2013,58(3):183-186
AbstractA yellowish copper vanadate mineral has been found in Swedish mural paintings from the fifteenth century. Small patches occur in malachite-green paint. Thirteen samples from five churches have been analyzed by optical and scanning electron microscopy with energy–dispersive X-ray spectrometry, transmission electron microscopy, X-ray powder diffraction, and polarized light microscopy. The substance is evidently the rather uncommon mineral volborthite, with the chemical formula Cu3V2O7(OH)2.2H2O. Very small quantities have also been noted for another mineral, presumably calcio-volborthite, CaCu(VO4)(OH), also named tangeite. The results show that the conservator should always be observant for pigments not earlier noticed or reported. There are some old mines in Central Europe, e.g. in Germany, which contain malachite as well as copper vanadate minerals, and this is probably the origin of the yellow patches in the paintings. 相似文献
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Claudia Pelosi Davide Fodaro Livia Sforzini Claudio Falcucci Pietro Baraldi 《文物保护研究》2017,62(5):266-282
This work presents the results of the investigation carried out on a group of terracotta sculptures (modelli) (sixteenth to eighteenth century) belonging to the extraordinary collection of Palazzo Venezia in Rome. The study, the diagnostic analysis, and the conservation work, were possible thanks to the grant supplied by the Getty Foundation of Los Angeles and by the bank Intesa San Paolo. The terracotta modelli had a practical function as they were of great use as sketches to the creation of the final masterpieces or as models for restoration. As a consequence, the terracotta models allow reconstructing the creative process of artists and restorers, fundamental to outlining the ancient workshop production. X-ray fluorescence spectroscopy, micro-stratigraphic investigation, Fourier transform infrared spectroscopy, and micro-Raman spectroscopy were chosen as useful techniques to study the morphology and composition of the surface-painted layers. Usually the surfaces were painted in order to simulate the materials of the sculpture for which the model was created, for example lead white was used to obtain a white surface simulating marble. But, often the models were re-painted to make them more attractive for the antique trade. So, several pigments have been found on the surfaces such as zinc white, Prussian blue, chrome yellow, and mono-azo pigment. In some cases, the characterization of the surface paintings was particularly important to the final decision about removing or leaving the surface paint in place. 相似文献
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The Shosoin treasures, which include the belongings of Emperor Shomu (CE 701–756) and Empress Komyo (CE 701–760), have an honorable origin and have been continuously handed down for generations since the eighth century in the Todaiji temple in Nara, Japan. Some of the beautiful artifacts found among the treasures display the bachiru carving technique, in which a delicate pattern is produced by carving dyed ivory or antler using additional painting. To elucidate the colorants used for dyeing and painting in the bachiru technique, non-invasive scientific analyses using fiber optic reflectance spectrometry in the visible region, X-ray fluorescence spectroscopy, and X-ray diffraction were performed for eight treasures: a go game board, two go pieces, a nyoi (ritual nail pole), a kugo harp, a bird-shaped accessory, a kaburaya arrow, and a ritual ruler. Second derivatization of the reflectance spectra led to characterization of the dyes in the treasures as sappanwood, lac, madder, gromwell, and indigo. Lac and atacamite were respectively identified in the red and green areas of the painting by reflectance spectrometry and X-ray diffractometry. These results indicated the use of a variety of colorants for the bachiru carving technique in the eighth century. 相似文献
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This technical note describes the construction and use of a portable silver nitrate test kit designed to be safely usable in the storeroom during collection condition surveys. It provides the surveying conservator with supplementary test data to better predict the level of hazard presented by soluble salts in collections. 相似文献
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Shosoin textiles, handed down from the eighth century in Nara, Japan, have entranced many people with their beautiful colors made from natural dyes. Dye analysis of the Shosoin textiles, including the red carpet laid inside the workshop hall at the Todaiji Temple in Nara, used for the inauguration of the statue of the Great Buddha in the temple in 752 AD; a red undergarment and a gown with a tie-dyed design worn by craftsmen in the Todaiji Temple; and embroidered shoes belonging to Empress Komyo (701–760 AD), were conducted by excitation–emission matrix fluorescence spectrometry equipped with a fiber optics probe. Comparison of the spectra to references identified safflower red (Carthamus tinctorius L.) in the red or orange areas on these original textiles. The spectrometry of the gown and the shoes offered the identification not only of safflower red but also of amur cork tree. This study finds these examples to be the oldest scientifically confirmed presence of safflower red on historic textiles at present. 相似文献
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Sveva Longo Enricomaria Mormina Francesca Granata Domenico Mallamace Marcello Longo Silvia Capuani 《文物保护研究》2018,63(7):383-390
A modern approach to the diagnosis of artistic heritage makes use of non-destructive techniques which avoid damage to artworks or signs of interaction with the analytical technique used. For this reason, today, the employment of X-rays to study artistic heritage is quite widespread. Computed tomography (CT) Imaging was first used as specialized medical diagnostic tool in the early 1970s. Today, CT scanners have become more common, and non-destructive three-dimensional imaging has found an increasing number of uses in different areas such as materials research, geology, archaeology, and museum conservation. In this work, a new generation of clinical CT (based on the Dual Energy and multi-slice acquisition principle) is used to investigate an Egyptian wooden mummy board with a total acquisition time of 93.23 seconds and a voxel size of 0.078?×?0.078?×?1.5?mm. The use of two distinct techniques of image post-processing, the two-dimensional multi-planar reconstruction (MPR) and the three-dimensional volume rendering technique (VRT) allowed us to: evaluate the state of conservation of the mummy board, determine how the wooden object was implemented, recognize a nineteenth-century intervention of consolidation, and advance the hypothesis that the wooden planks were reused. In particular, we highlight the use of the cardiovascular and pulmonary filter with VRT reconstruction, which allows a virtual elimination of different parts of the mummy board to investigate those areas otherwise accessible only by removing parts of the board and thus damaging the work. 相似文献
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Cellulose nitrate was widely used as a film base for photography, cinematography, and radiography in the first half of the twentieth century. Its stability is inherently poor and subject to environmental storage conditions. The risk of fire and the cross-infection effect on the cellulose acetate film stored at the same location necessitate that cellulose nitrate is identified within collections and stored separately. Not only medical archives, but also museums using radiography in their research may hold a sizeable amount of historical X-ray films. The Natural History Museum, London has been using film for X-radiography since before World War II. This suggests that some of the X-ray materials in its collections have a cellulose nitrate rather than ‘safety’ (cellulose acetate or polyester) film base. X-ray sheets rarely contain information related to their composition so science-based identification methods must be used. We propose the determination of nitrogen content in the film by organic elemental analysis (OEA) as a reliable method for the identification of films (X-ray, photographic, or cinematographic) with a cellulose nitrate base. Though it is a destructive method, the sample size required is small (<1?mg). This method does not require any sample preparation apart from weighing the samples and wrapping them in tin foil. OEA proved to be more accurate than the ‘float’ test in trichloroethylene and quicker and more straightforward to perform than infrared spectroscopy. 相似文献
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The analysis of early Medieval swords is of great significance due to the eminent position of the find category in the study of the early Medieval period. X-ray computed tomography is a non-destructive analytical method permitting the collection of data that otherwise could only be gathered with considerable effort and much damage to the object. Beyond the usual morphological and dimensional parameters, the method allows for the fast and accurate gathering of knowledge about the construction and manufacturing processes of sword blades and can also be applied to block-lifted swords. Preservation condition and related artifacts caused by beam hardening may be limiting factors; however, in most instances interpretation of the data remains possible. 相似文献
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Vanessa Otero Joana V. Pinto Leslie Carlyle Márcia Vilarigues Marine Cotte 《文物保护研究》2017,62(3):123-149
The Winsor & NewtonTM (W&N) nineteenth century archive database includes digitised images of hand-written instructions and workshop notes for the manufacture of their artists’ materials. For the first time, all 183 production records for yellow lead chromate pigments were studied and evaluated. They revealed that W&N produced essentially three pigment types: lemon/pale based on mixed crystals of lead chromate and lead sulphate [Pb(Cr,S)O4]; middle on pure monoclinic lead chromate [PbCrO4]; and deep that contains the latter admixed with basic lead chromate [Pb2CrO5]; accounting for 53, 22, and 21% of the production, respectively. Production records for primrose (4%) were also included since the formulation results in mixed crystals with a high percentage of lead sulphate, which, according to the literature, leaves it more prone to degradation. Each pigment type is characterised by only one or two main synthetic pathways; process variations reveal a systematic and thorough search for a high-quality durable product. A comparison of the chemical composition of pigment reconstructions with early W&N oil paint tubes showed that their records entitled ‘pale’ and ‘lemon’ correlated with the pigment in their tube labelled chrome yellow and, ‘middle’ and ‘deep’ with the label chrome deep. Lemon and middle pigment formulations were made into oil paints to assess their relative photo-stability. The degradation process was followed by colorimetry and was studied by synchrotron radiation-based techniques. Based on the X-ray absorption spectroscopy data, the possibility for creating a stability index for chrome yellows is discussed. 相似文献
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Milan Grba 《Slavic & East European Information Resources》2017,18(3-4):152-164
This article surveys a sample of sources of the information about Romania available to British readers in nineteenth century British newspapers and periodicals. It traces first contacts between the Romanian lands and Britain after the union of the principalities of Wallachia and Moldavia in 1859, then after their independence from the Ottoman Empire. The article highlights an increased Romanian interest in British periodicals, which reported and reviewed Romanian literature and scholarship. The article concludes that nineteenth century British newspapers and periodicals offer a great variety and wealth of new material previously unavailable or unknown to researchers. It also states that only a portion of a large quantity of this material has been indexed and is therefore available via the bibliographic sources mentioned in the article. The author argues for the need of a new and updated British-Romanian bibliography, which can draw on new online resources offering access to thousands of new newspapers and periodical records. 相似文献