Testing of Raman spectroscopy as a non‐invasive tool for the investigation of glass‐protected miniature portraits

Six French miniature portraits on ivory and paper dating back to the 18th to 19th centuries have been studied by Raman spectroscopy. The miniatures have been investigated through their protective glass cover using different operating conditions: various laser wavelengths (1064, 785 and 532 nm), spectrometers (fixed and mobile) and objectives (10× to 200×). The results obtained for black (carbon), grey (carbon + chalk), red (lead oxide, vermillion), blue (Prussian or phthalocyanine blue), green (emerald or Paris green) and white (lead white) pigments are presented. The consistency of the period of use of the pigments with the proposed dating for each artwork is evaluated. Attention is paid to the analysis of the ivory substrates (assigned to Asian elephant ivory) and to the protective glass. Copyright © 2011 John Wiley & Sons, Ltd.     

Pigment study by Raman microscopy of 23 paintings by the Portuguese artist Henrique Pousão (1859–1884)

Twenty‐three paintings by Henrique Pousão—a 19th century Portuguese painter—belonging to the collection of Museu Nacional Soares dos Reis, Porto, Portugal, were analysed by Raman microscopy. The fine focus of a 100× objective allowed the visualisation and individual identification of small grains. As a result, thirty‐seven compounds, namely, anatase, barium white, basic lead sulfate, brochantite, cadmium red, cadmium yellow, calcium carbonate, carbon‐based black, celadonite, chrome green, chrome orange, chrome yellow, cobalt blue, cochineal lake, copper sulfide, emerald green, iron(III) oxyhydroxide, iron(III) oxide, kaolinite, lead antimonate yellow, lead carbonate, lead white, lead sulfate, madder lake, malachite, Prussian blue, quartz, realgar/pararealgar, red lead, rutile, Scheele's green, strontium yellow, ultramarine blue, vermilion, viridian, zinc white and zinc yellow, were identified. Not all these compounds are pigments; some are extenders, others trace components and others probably products of reactions between pigments. Special attention was given to the Raman characterisation of celadonite, chrome orange, basic lead sulfate and lead antimonate yellow. Complementary techniques were used to confirm the identities of certain pigments and to characterise reference samples. Pousão, whose work has not previously been studied spectroscopically, was found to have used a remarkably wide range of pigments over his painting periods, without showing significant preference for any particular set of pigments. Copyright © 2007 John Wiley & Sons, Ltd.     

An external PIXE study: Mughal painting pigments

Recently, a new external beam PIXE facility was installed at the 2 MV tandem ion accelerator of the Federal Institute for Materials Research and Testing (BAM). For external beam PIXE, 1–3 MeV protons are extracted through a thin exit window and focused on the target under air pressure. This set‐up is particularly suitable for multielement trace analysis in the field of unique art and archaeological objects. We report the first archaeometric findings of the study of Mughal painting pigments by means of this experimental set‐up. The Indian miniatures chosen for the study date from the Mughal period (1526–1858) and were executed by various artists in particular workshops between the 17th and the 19th centuries. The paintings are typical depictions of Mughal sovereigns and courtiers or show genre scenes. Until now, in contrast to European paintings, only scarce information on the materials used in the workshops of Mughal painters has been available. Therefore, the exact knowledge of the painting materials employed would allow a more detailed attribution of the precious miniatures to a particular period and to distinguish original paintings from later copies. Copyright © 2004 John Wiley & Sons, Ltd.     

On‐site analysis of Chinese Cloisonné enamels from fifteenth to nineteenth centuries

A selection of 22 rare Chinese cloisonné enamels, from fifteenth century to nineteenth century A.D ., has been studied on‐site in the storage rooms of the musée des Arts décoratifs in Paris. The Raman signatures of the transparent and/or opacified glass matrix are discussed and compared with those that were previously recorded on glazed pottery, enameled and stained glasses. Enamels mostly belong to lead‐based potash‐lime glasses. Three different compositions, lead‐potash‐lime (fifteenth, sixteenth, eighteenth and nineteenth century), soda‐rich (sixteenth–seventeenth century) and soda‐lime (seventeenth century) are identified according to the wavenumber maxima of the Si O stretching and bending multiplets. Most of the pigment signatures are similar to those recorded on ceramic glazes and glass enamels, which proves the link between the technologies but a specific opacifier is observed: fluorite (CaF₂). Naples Yellow pigment variations give characteristic signatures. Additionally, a comparison is made with Limoges enamels (sixteenth–nineteenth century A.D. ). Copyright © 2009 John Wiley & Sons, Ltd.     

Synthesis and fading of eighteenth‐century Prussian blue pigments: a combined study by spectroscopic and diffractive techniques using laboratory and synchrotron radiation sources

Prussian blue, a hydrated iron(III) hexacyanoferrate(II) complex, is a synthetic pigment discovered in Berlin in 1704. Because of both its highly intense color and its low cost, Prussian blue was widely used as a pigment in paintings until the 1970s. The early preparative methods were rapidly recognized as a contributory factor in the fading of the pigment, a fading already known by the mid‐eighteenth century. Herein two typical eighteenth‐century empirical recipes have been reproduced and the resulting pigment analyzed to better understand the reasons for this fading. X‐ray absorption and Mössbauer spectroscopy indicated that the early syntheses lead to Prussian blue together with variable amounts of an undesirable iron(III) product. Pair distribution functional analysis confirmed the presence of nanocrystalline ferrihydrite, Fe₁₀O₁₄(OH)₂, and also identified the presence of alumina hydrate, Al₁₀O₁₄(OH)₂, with a particle size of ～15 Å. Paint layers prepared from these pigments subjected to accelerated light exposure showed a tendency to turn green, a tendency that was often reported in eighteenth‐ and nineteenth‐century books. The presence of particles of hydrous iron(III) oxides was also observed in a genuine eighteenth‐century Prussian blue sample obtained from a polychrome sculpture.     

Analysis of paintings from the nineteenth century Brazilian painter Rodolfo Amoedo using EDXRF portable system

The pigments used in four of the most representative paintings of the Brazilian artist Rodolfo Amoedo were characterized by means of the EDXRF technique. The analyzed paintings were ‘The Last Tamoyo’ (1883), ‘Study of a Woman’ (1884), ‘Bust of Mrs. Amoedo’ (1892) and ‘Bad News’ (1895). EDXRF measurements were carried out with a portable system developed by the Nuclear Instrumentation Laboratory, consisting of an x‐ray tube Oxford TF3005 with a W anode, operating at 25 kV and 100 µA, and a Si‐PIN XR‐100CR detector from Amptek. Several spectra were obtained in each color and distinct hue of the paint layer, with an acquisition time of 300 s and a beam collimation of 2 mm. Some pigments used by the artist were zinc white, lead white, ochre, umber, vermilion, Prussian blue, cobalt blue, cadmium yellow, black iron oxide and manganese violet. In the painting ‘The Last Tamoyo’, titanium white was identified in some alteration areas, which were restored during the twentieth century. These results—together with computed radiography analyses—will be used to create a database about the nineteenth‐century collection of the National Museum of Fine Arts, in order to assist restorers, conservators, art students and researchers in the field of archeometry. Copyright © 2009 John Wiley & Sons, Ltd.     

Portable XRF study of pigments applied in Juan Hispalense’s 15th century panel painting

Several medieval paintings and polychrome sculptures have been analysed in the frame of a collaboration between the Fine Arts Museum of Seville and the National Centre of Accelerators, dedicated to a non‐destructive study of artworks that belong to the wide museum’s collection. Among the oldest artworks in the collection is the panel painting Archangel St. Michael attributed to Juan Hispalense, one of the first painters in the 15th‐century Seville known by name. The panel was analysed by a portable X‐ray fluorescence (XRF) to get more information about the pigments applied and to identify possible later interventions. The results showed that the pigments were those commonly used in that period. Lead white was found in the preparation of the painting and in colour layers. For yellow colour, yellow ochre was used, while for the red one, the painter usually mixed red earth and vermillion. Blue pigment is azurite, while the copper‐based green one could not be determined more specifically by XRF. Brown colour is made with yellow ochre and organic black or, in some cases, umbra. Black pigment is probably bone or ivory black. Many decorative parts of the panel are gilded, which were confirmed by Au peaks. Later interventions were carried out on the base of Ti–Zn white mixed with earth pigments, while for green areas such as Archangel's wings also chrome green was applied. The research is part of a larger study which is still going on, whose aim is to gain more knowledge about the 15th‐ and 16th‐century Spanish painting and polychromy. Copyright © 2011 John Wiley & Sons, Ltd.     

An investigation of a unique group of painted silk banners from a Polish collection

Historic textiles represent a very important part of our cultural heritage. This research focused on the evaluation of a group of unique 16th century banners painted on silk. The banners were examined by Raman spectroscopy and X‐ray fluorescence spectrometry. The measurements were performed to characterize the pigments and materials used, in order to establish the most adequate display methods. Pigments typical of the Renaissance period such as azurite, lead tin yellow, yellow ochre, vermilion, red lead, red ochre, lead white and charcoal were found. Because some of the detected pigments are sensitive to anoxic atmospheres, a microclimate display system was selected as the most adequate option for the safety exhibition. Copyright © 2017 John Wiley & Sons, Ltd.     

On‐site analysis of Limoges enamels from sixteenth to nineteenth centuries: an attempt to differentiate between genuine artefacts and copies

A selection of 15 painted enamels, most of which belong to Limoges productions, from 1500 to 1900 A.D. , has been studied on‐site in the storage rooms of musée des Arts décoratifs in Paris. The Raman signatures of the transparent and/or opacified glass matrix are discussed and compared with those which were previously recorded on glazed pottery, enamelled and stained glasses as well as Chinese cloisonné enamels. Analysed enamels mostly belong to soda‐lime‐based glass. Three types of compositions such as soda‐lime (fifteenth to sixteenth century), soda‐rich (fifteenth, sixteenth/nineteenth centuries) and lead‐potash‐lime (sixteenth and nineteenth centuries) are identified on the basis of the Raman signature of the glaze according to the wavenumber maxima of the Si O stretching and bending multiplets. The pigment signatures are similar to those recorded on ceramic glazes and glass enamels, which proves the similarity of the technologies. Cassiterite as an opacifier and hematite red and Naples yellow pigment variations give characteristic Raman signatures. The presence of lead arsenate as a pigment opacifier in nineteenth‐century samples is confirmed. Attempts are made to establish tools for the differentiation between genuine artefacts and nineteenth‐century restoration or fakes. Copyright © 2010 John Wiley & Sons, Ltd.     

Baroque glass mosaics from the Capela de São João Baptista (Chapel of Saint John the Baptist,Lisbon): unveiling the glassmaking records

For the first time, 18th‐century glass mosaics from the Capela de São João Baptista (Chapel of St. John the Baptist, Lisbon) were analysed by Raman microscopy (RM). This masterpiece in baroque mosaic art had one of its major contributors the most famous glassmaker in Rome, Alessio Mattioli. Mattioli was celebrated because of the opacity of his mosaics and the astonishing number of hues he was able to produce for mosaic decorating Saint Peter's Basilica in Rome. This study had two goals in mind: (1) characterising the materials involved in the manufacture of these glass mosaics and (2) lengthening the understanding of what was left of Mattioli's glassmaking records. As expected the mosaics presented a high ratio of crystalline phases, making RM the ideal technique for non‐destructive analysis. The mosaics contained a white ‘background’ or opacifier added identified as Ca₂Sb₂O₇. The yellow tesserae are opacified with lead antimonate (Pb₂Sb₂O₇) and ternary oxides, structures related to lead antimonate but with other ions entering the position of Sb⁴⁺ (namely Sn⁴⁺). Those ternary oxides are pervasive in most colours, admixed with other colorants. The red, orange, pink and brown colours were accomplished with cuprous oxide (Cu₂O) and admixed with a ternary oxide to create the latter three colours. The red copper‐based colours were made according to the procedure to make a ruby copper glass and with the exception of the red colour; all mosaics exhibited a dark layer on each side of the mosaic, named scorzetta. This layer is the outcome of an oxidation reaction because of a quick cooling process and is composed of CuO. Finally the blue and green colours are accomplished with cobalt oxide and copper oxide, respectively, and the purple/black colour with manganese oxide. Copyright © 2015 John Wiley & Sons, Ltd.     

Characterization of pottery from the Republic of Macedonia I: Raman analyses of Byzantine glazed pottery excavated from Prilep and Skopje (12th–14th century)

In order to gain some understanding of and to characterize the materials used in Byzantine glazed ceramic finds in the Republic of Macedonia, as well as to obtain information on their manufacturing technology, micro‐Raman spectra of 15 representative glazed shards, all dated from 12th to 14th century, were recorded. The elemental composition of the body and glaze of selected shards was obtained by scanning electron microscopy‐energy dispersive X‐ray spectrometry (SEM‐EDXS). At least 17 different minerals in the ceramic body were identified from the Raman spectra, among which were a variety of feldspars (microcline, albite and sanidine) as well as andradite, apatite and forsterite. According to the identified minerals, locations of the used raw materials in the vicinity of the archaeological sites are proposed. There is a good correlation between the polymerization index derived from the Raman spectra and the lead content obtained from the SEM‐EDXS analyses, therefore the firing temperature of the analyzed glazes could be assessed. The SEM‐EDXS analyses showed the presence of different coloring agents (Cu, Co, Cr, Sb) as well as opacifying (Sb) and fluxing (Pb) agents in the glaze matrix. The content of P₂O₅ in the glaze of one of the shards is also discussed. Copyright © 2009 John Wiley & Sons, Ltd.     

Testing of Raman spectroscopy as a non‐invasive tool for the investigation of glass‐protected pastels

Five French pastels and a sanguine drawing dating from the 17th to the 20th century were studied by Raman spectroscopy. Different operative conditions were used: the pastels were investigated through their protective glass, and the results obtained were compared with those obtained after removing the glass and after sampling a micrometric particle of pigment. Different parameters (wavelengths, powers of excitation and objectives) were tested in order to assess the optimal procedure of analysis for this fragile work of art. The results obtained for black (carbons), yellow (chrome/cobalt yellow), red (lead oxide, vermillion, orpiment), brown (red lead and chrome yellow), blue (Prussian blue, lapis lazuli/ultramarine), green (mixture of above blue and yellow pigments) and white (calcite, lead white, anatase) pigments are presented and the consistency of the pigments' period of use with the dating proposed for each pastel is evaluated. In one of the pastels, the blackening of the carnation colour made of an unstable mixture of lead white, red lead and vermilion was studied. Copyright © 2010 John Wiley & Sons, Ltd.     

An assessment study of tiles from Topkapı Palace Museum with energy‐dispersive X‐ray and Raman spectrometers

A limited number of studies concerning Ottoman ceramic technology have been performed using the scanning electron microscopy‐energy dispersive X‐ray spectrometry and micro‐Raman spectroscopy techniques. The discovery of the ceramics, which were described as ‘Iznik’, at excavation sites outside of the city of Iznik, caused disagreements over the exact origin of Iznik products. In this study, bodies, glazes, and pigments of 46 tile/ceramic shards of unknown origin, which were supplied from the vaults of Topkapı Palace Museum, and two reference tile fragments, known as Kütahya products, supplied from the demolished Surp Krikor Lusavoriç church and, additionally, two Iznik reference tiles were examined using the scanning electron microscopy‐energy dispersive X‐ray spectrometry and micro‐Raman spectroscopy techniques. Results of both techniques were evaluated together for the first time to determine the power of nondestructive Raman spectroscopy technique in differentiation of Ottoman tiles. In this work, bodies of the Kütahya tiles were found to be different than Iznik and Tekfur stone‐paste bodies, which are rich in clay rather than quartz. Two different lead‐alkali glaze compositions were found for Kütahya tiles; one was rich in PbO (over 35%) and the other one was rich in alkali (PbO less than 25%). Barite inclusions were detected in the bodies and in the glazes of some Ottoman tiles, which could be the fingerprint for the Kütahya products. It was found that the under glaze red decoration is essentially a mixture of hematite and quartz in different proportions. Shades of red decoration mainly depend on the amount of hematite in the mixture. Sixteenth century tomato red decoration contains more quartz compared with 17th century dark red decoration. This study showed that a similar technology was also applied at Kütahya in the 16th century. A linear correlation was found between the position of the Raman intense stretching peak Q₃ and lead oxide content of lead‐alkali glazes, which could allow for the differentiation of Ottoman tiles based on the nondestructive Raman analysis. This study provides an important additional reference data and discussion for the Ottoman tiles. Copyright © 2011 John Wiley & Sons, Ltd.     

Non‐destructive characterization of 17th century painted silk banner by the combined use of Raman and XRF portable systems

X‐ray fluorescence spectroscopy (XRF) and Raman spectroscopy analysis were performed to examine a 17th century painted silk banner in order to characterize the pigments and materials used. This complementary approach yields information on the elemental (XRF) and on the molecular composition (Raman) of the used compounds. The paint layer, ground layer under gilding, and gilding layer were investigated. For the studied object, vermilion (HgS), lead white (2PbCO₃ · Pb(OH)₂), red lead (Pb₃O₄), and aurichalcite ((Cu,Zn)₅(CO₃)₂(OH)₆) were found. The presence of silver and gold foils was confirmed. The techniques used in the analysis were portable, non‐destructive, and non‐invasive, which is very desirable when analyzing cultural heritage objects. The obtained results were used by the conservators to develop a showcase prototype for safe exhibition. Copyright © 2015 John Wiley & Sons, Ltd.     

In situ Raman microscopy applied to large Central Asian paintings

Procedures and versatile Raman instruments are described for the non‐destructive in situ analysis of pigments in large paintings. A commercial Raman microscope is mounted on a gantry for scanning paintings with dimensions exceeding 1 m². Design principles and the physical implementation of the set‐up are outlined. Advantages/disadvantages and performance of the gantry‐based instrument are compared with those of a mobile Raman probe, attached to the same Raman microscope. The two set‐ups are applied to Central Asian thangka paintings. The utility of the gantry‐mounted Raman microscope is demonstrated on a 19th century Buddhist painting from Buriatia, South Siberia. Surprisingly, three arsenic‐based pigments, i.e. orpiment, realgar, and pararealgar, are found all in the same painting. Pararealgar is used for painting the numerous yellow areas. Realgar is admixed with red lead for adjusting its orange tint. Finally, orpiment is blended with Prussian blue for producing green. Traditional malachite is used in addition as a non‐adulterated green pigment. The mobile Raman probe was employed for examining a Tibetan painting of the 18th century from Derge monastery in the Kham area of Sichuan. The highly unique painting could be dated well and its origin accurately located. In fact, the painter's workshop, where the thangka has been executed, is shown in great detail on the painting itself. The painter's palette of this thangka matches the canonical set of pigments used in Tibet for more than 10 centuries. Copyright © 2009 John Wiley & Sons, Ltd.     

Surface‐enhanced Raman scattering (SERS) and complementary techniques applied for the investigation of an Italian cultural heritage canvas

A cultural heritage canvas from the early 19^th century, painted by the Vaccaro brothers for the church of Niscemi, province of Caltanissetta, Sicily, was analyzed using Fourier transform (FT)‐Raman, attenuated total reflectance‐FT‐infrared and surface enhanced Raman scattering (SERS) spectroscopy. The painting, still used in religious rites related to the Easter mass (‘la calata da tila’), depicts the scene of the Crucifixion and is executed in a scarce palette, with white, green and blue colors. Analysing vibrational data in conjunction with scanning electron microscopy and solid ‐state ¹³C‐NMR signals of the linen threads, we were able to offer valuable insight into the painting technique, unknown prior to this study. SERS is usually employed in artwork diagnosis for the identification of organic lakes and dyes. Due to its sensitivity, SERS has been successfully applied for the detection of either organic painting materials (indigo) that are usually not resolved by conventional Raman spectroscopy or of inorganic pigments difficult to observe in the presence of highly fluorescent aged organic supports or binders. To the best of our knowledge, this is also the first report on the SERS investigation of flax used in linen from cultural heritage objects using Ag colloidal nanoparticles. Copyright © 2012 John Wiley & Sons, Ltd.