Artificial patination

Hughes, R.

doi:10.1016/b978-0-7506-1611-9.50005-4

Cited by 18 publications

(11 citation statements)

References 5 publications

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“…Es de factura muy cuidada, como se observa a menudo en las estatuillas de mayor tamaño (Rowe, 1996: 302 Recientemente se cuestionó la autenticidad de esta pieza, fundamentalmente por su pátina negra tan oscura -que difiere de la pátina resultante de la alteración natural de la plata-más parecida a una pátina artificial. Esta técnica tuvo su auge en el siglo XIX para dar al objeto una lectura «antigua» (Hughes, 1993), o incluso de «buen gusto» según los cánones de la época (Rudoe, 1993). La radiografía de la pieza ( fig.…”

Section: La Estatuilla Masculina De La Colección Lemoyneunclassified

The Inca figurines of the musée du quai Branly - Jacques Chirac: typological variety and production chronology

Núñez-Regueiro¹,

Moulhérat²,

Guerra³

2017

bifea

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Bulletin de l'Institut français d'études andines (1) | 2017La orfebrería en los Andes en la época inca (siglos XV-XVI)Las estatuillas incas del musée du quai BranlyJacques Chirac: variedad tipológica y cronología de las producciones Andines / 2017, 46 (1): 193-219 Las estatuillas incas del musée du quai BranlyJacques Chirac: variedad tipológica y cronología de las producciones Paz Núñez-Regueiro * Christophe Moulherat ** Maria Filomena Guerra *** 193 Las estatuillas incas del musée du quai Branly -Jacques Chirac Bulletin de l'Institut Français d'Études ResumenLa colección de orfebrería inca del musée du quai Branly -Jacques Chirac (París) fue constituida en el siglo XIX como resultado de la recolección o de las compras realizadas por diversos viajeros y coleccionistas. Esta se compone de estatuillas en miniatura de oro, plata o cobre, cuya variedad formal, estilística y material interroga tanto su atribución cultural como la autenticidad de ciertos ejemplares. El estudio contextual, así como el análisis de su variedad tipológica, tecnológica y de sus aleaciones, proporciona información sobre la producción orfebre de esas piezas durante el Incanato y en los períodos posteriores a la conquista española, del siglo XVI al siglo XIX. Les figurines incas du musée du quai Branly -Jacques Chirac : variété typologique et chronologie des productions RésuméLa collection d'orfèvrerie inca conservée au musée du quai Branly -Jacques Chirac (Paris) fut constituée au XIX e siècle comme fruit de la collecte et des achats réalisés par voyageurs et collectionneurs. Elle se compose de figurines miniatures en or, argent ou cuivre, dont la diversité formelle, stylistique et matérielle renvoie à l'attribution culturelle et à l'authenticité de certains spécimens. L'étude contextuelle, ainsi que l'analyse de la variété typologique, technologique et des alliages nous fournit des informations sur la production orfèvre de ces pièces produites à la période inca, puis aux périodes ayant succédé à la conquête espagnole, du XVI e au XIX e siècle. Mots-clés : figurines, miniatures, culture inca, orfèvrerie, alliages d'argent et d'or, musée du quai Branly -Jacques ChiracThe Inca figurines of the musée du quai Branly -Jacques Chirac: typological variety and production chronology AbstractThe Inca metalwork collection held at the Musée du quai Branly -Jacques Chirac (Paris) developed in the 19th century through the activities of varied travelers and collectors. The formal, stylistic and material variety of the miniature figurines in gold, silver and copper raises questions about their cultural attribution and in some cases their authenticity. Their contextual study, as well as the analysis of their typological, technological variety and material composition, provide us with information on the production of these figurines during the Inca period, and during the periods following the Spanish conquest, from the 16th to the 19th century.

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Section: La Estatuilla Masculina De La Colección Lemoyneunclassified

The Inca figurines of the musée du quai Branly - Jacques Chirac: typological variety and production chronology

Núñez-Regueiro¹,

Moulhérat²,

Guerra³

2017

bifea

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“…For example, mixtures such as: sodium chlorate, water, and copper nitrate, or copper nitrate, water, ammonia, acetic acid, and ammonium chloride are used to create green patinas on bronze (Hughes & Rowe, 1982). Patination recipes may range in pH from acidic to alkaline (Weil, 1977;Hughes & Rowe, 1982;Hughes, 1992Hughes, , 1993.…”

Section: Storage and Environmental Issuesmentioning

confidence: 99%

“…Furthermore, iron(III) nitrate and potassium nitrate are hygroscopic and any residue of these salts could promote further corrosion given sufficient moisture (Hawley et al, 1987;Stolzenberg, 2004). Gerhardtite has been reported in artificial patinas (Hughes, 1993). The presence of both gerhardtite and rouaite on Borglum/George Washington and McKenzie/The Competitor suggests that these copper hydroxide nitrates are present from a chemical patination process carried out with heat rather than from a room-temperature corrosion process that would only form gerhardtite.…”

Section: Nitrate-containing Layersmentioning

confidence: 99%

An investigation into the cause of corrosion on indoor bronze sculpture

Couture-Rigert¹,

Sirois

Moffatt

2012

Studies in Conservation

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Corrosion noted on a number of nineteenth and twentieth century indoor bronze sculptures in the collection of the National Gallery of Canada was the cause for a major condition survey of its Canadian, American, and European bronzes. The results led to a comprehensive study, which included material analysis. This article outlines the steps undertaken to determine the extent and type of corrosion, its possible cause(s), and potential remediation. The survey included 136 bronzes, of which 40 were selected for an in-depth study. Indoor air quality tests of the current building, housing the collection since 1988, were carried out. The dossiers and database records of the selected sculptures were reviewed to investigate their condition, treatment, and storage history. The metal, patina, and corrosion products were subjected to analysis. More areas of corrosion were generally associated with predominantly green patinas and chloride-containing compounds identified in either patina or corrosion samples. The most frequently identified compounds in the patina samples were atacamite, a copper(II) chloride hydroxide, and cuprite, a copper(I) oxide. The most frequently identified compounds in the corrosion samples were atacamite and rouaite, a copper(II) hydroxide nitrate. The analysis determined that the current environment is not contributing to the surface alterations of the sculptures; however, past storage conditions, chemical residues from artificial patination, and likely casting residues are the main causes of the current condition.

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“…Tin and lead are expected in silver obtained by processing silver ores by cupellation with the techniques employed from the Incan period onwards (Zori & Tropper, 2010 9 ) and about 0.2wt% gold was found 10 Based on the average data it is impossible to know whether the golden band corresponds to the use of pure gold or to the use of a gold alloy containing silver and copper. 11 Surface patination was very popular in the 19th century (Hughes, 1993), the work on the figurines surface could be a sign of a more recent production. The most commonly known inclusions in European jewellery are however made from niello, a silver-lead (sometimes copper) sulphide that when heated hardeners and becomes lustrous (for example Oddy et al, 1983).…”

Section: Figure 17 -The Predicted and Observed Values In Percent Fomentioning

confidence: 99%

Inca figurines from the Ethnologisches Museum in Berlin: an analytical study of some typical and atypical productions

Guerra¹,

Fischer²,

Radtke³

et al. 2017

bifea

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Artificial patination

Cited by 18 publications

References 5 publications

The Inca figurines of the musée du quai Branly - Jacques Chirac: typological variety and production chronology

The Inca figurines of the musée du quai Branly - Jacques Chirac: typological variety and production chronology

An investigation into the cause of corrosion on indoor bronze sculpture

Inca figurines from the Ethnologisches Museum in Berlin: an analytical study of some typical and atypical productions

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