Multi-technical analysis as a tool to investigate structural species in the “replica” of First Mass in Brazil painting by Sebastião Vieira Fernandes

Costa, Thiago A.; Ritcher, Fabio A.; Correia, Marcelino D. de M.; Escorteganha, Márcia R.; Santiago, Alina Gonçalves; Gonçalves, Samantha; Spudeit, Daniel A.; Micke, Gustavo Amadeu; Miranda, Fabio S.

doi:10.1016/j.molstruc.2016.05.019

Cited by 9 publications

(5 citation statements)

References 27 publications

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“…As shown in Fig. , the presence of palmitic, stearic, and azelaic acids indicated presence of the aged (A/P = 1.1) linseed oil (P/S = 1.48) . Significant quantities of dehydroabietic acid were also detected, thus these samples most likely contained a Pinaceae resin‐derived material , such as colophony .…”

Section: Resultsmentioning

confidence: 89%

“…Fortunately, beeswax concentration was relatively low and drying oil identification was still possible since calculated P/S for the 13 samples taken from the Portrait of Jan Dobrogost Krasiński were 1.40–1.86 . Also, high concentration of azelaic and other dicarboxylic acids in all 13 samples unambiguously confirmed presence of the aged oil .…”

Section: Resultsmentioning

confidence: 93%

“…Drying oils traditionally used as paint binders before 20 th century can be identified based on palmitic to stearic acids concentrations ratio (P/S) . This approach was used here to differentiate between linseed, walnut, and poppy seed oil in the samples from historical paints .…”

Section: Resultsmentioning

confidence: 99%

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Identification of proteins, drying oils, waxes and resins in the works of art micro‐samples by chromatographic and mass spectrometric techniques

Witkowski

Duchnowicz

Ganeczko

et al. 2017

J of Separation Science

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Simplified method for simultaneous identification of proteins, drying oils, waxes, and resins in the works-of-art samples was developed. Liquid chromatography with mass spectrometry and gas chromatography with mass spectrometry were used to identify natural materials most frequently encountered in historical paintings. Protein binders were extracted with ammonia and purified using miniaturized solid-phase microextraction (Omix tips) to efficiently suppress matrix interferences. Zwitterionic stationary phase was used for separation of 16 underivatized amino acids analysis with hydrophilic interaction liquid chromatography that was subsequently quantified with liquid chromatography with mass spectrometry. Gas chromatography with mass spectrometry was used to analyze drying oils, waxes, and resins after one-step saponification/transmethylation with (m-trifluoromethylphenyl)trimethylammonium hydroxide (Meth-Prep II). While the drawback of this reagent is low reactivity towards hydroxyl groups, sample pretreatment was much simpler as compared to the other methods. Fatty acids derivatization with the Meth-Prep II reagent was compared with their silylation using N,O-bis(trimethylsilyl) trifluoroacetamide/trimethylchlorosilane mixture. It was concluded that fatty acids analysis as their methyl esters instead of trimethylsilyl esters had a minor impact on the method sensitivity. The developed method was used to analyze samples from 16 and 17 century historical paintings.

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Section: Resultsmentioning

confidence: 89%

Section: Resultsmentioning

confidence: 93%

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Identification of proteins, drying oils, waxes and resins in the works of art micro‐samples by chromatographic and mass spectrometric techniques

Witkowski

Duchnowicz

Ganeczko

et al. 2017

J of Separation Science

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“…Finally, the experimental section asserted that Beva371 is more suitable than the fish glue in the conservation of our samples, as a consoledat material. The, fish glue was not aceptable as a consolidant especially with using organic solvents-based materials [4,39].…”

Section: Discussionmentioning

confidence: 99%

Conservation of the Flowers Canvas Painting (1) at the Egyptian Agricultural Museum

Elsayed

2019

Egyptian Journal of Archaeological and Restoration Studies

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The present study aims to examine and treat the flowers canvas painting at the Egyptian Agricultural Museum. It is divided into three parts: a) USBDM, SEM-EDX, XRD, GC and FTIR studies, which revealed that the object is suffering from deterioration forms, e.g. ruptures, dust, cracks, missing parts, brittleness, fragility, acidified canvas, and incompatible treatments. The coloring materials are: The green is celadonite (K(Ca, Mg, Fe 2 ) (Fe 3 Al) [Si 4 O 10 ](OH) 2 ), the red is hematite (Fe 2 O 3 ), the blue is lazurite (Na,Ca) 8 (AlSiO 4 ) 6 (SO 4 ,S,Cl) 2 ), the beige is hematite (Fe 2 O 3 ) mixed with barite (BaSO4) and zincite (ZnO), and the gray is carbon black (C). Additionally the ground layer consists of hydrocerussite PbCO 3 .(OH) 2 , cerussite Pb 3 CO 3 and zincite ZnO binded with animal glue. The oil media is the poppy seed oil. b) The experimental part showed that 7% Beva371 in toluene is more suitable than the fish glue for object consolidation. c) The applied part covered cleaning, consolidation, patching, lining, completing the missing parts in the painting and ground layers and varnishing.

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“…The canvas is usually coated with a ground layer including inorganic white materials, such as calcium carbonate, zinc oxide, lead carbonate, barium sulfate…etc. [3,4]. It also include and organic binders, e.g.…”

Section: Introductionmentioning

confidence: 99%

Identification of the Painting Materials of a Unique Easel Painting by Mahmoud Sa'id

Elsayed

2019

Egyptian Journal of Archaeological and Restoration Studies

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The present study aims at examining a unique easel painting by the well-known Egyptian painter, Mahmoud Sa'id. It was painted over four years and displayed at the Agricultural Museum in Egypt. It experienced many deterioration phenomena. The study utilized some non-destructive and non-invasive analytical techniques, i.e. MA-XRF, SEM-EDX, ATR-FTIR, and GC-FID in addition to XRD and SM. Due to the case-study painting multilayers technique, the results of MA-XRF and EDX mapping and XRD patterns revealed using Ultramarine (Na,Ca) 8 (AlSiO 4) 6 (SO 4 ,S,Cl) 2 , yellow ochre (Fe 2 O 3 .H 2 O), red ochre (Fe 2 O 3), and a mixture of graphite (C) and bone black (C,Ca 5 (OH)(PO 4) 3) as a coloring pigments in the blue, yellow, reddish brown and black samples, respectively. Moreover, Barite (BaSO 4) and Zincite (ZnO) were used in the ground layer with Hydrocerussite (Pb 3 (CO 3) 2 (OH) 2) and Sphalerite (ZnS) in lightening colors. Linseed oil was asserted as the pigment binding media, while the binding media of the ground layer was not confirmed. Furthermore, fragility, brittleness, cleavages, peeling, cracks, macro cracks, stains, and ancient fault restoration were detected in the casestudy painting. Accordingly, it urgently requires treatment.

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Multi-technical analysis as a tool to investigate structural species in the “replica” of First Mass in Brazil painting by Sebastião Vieira Fernandes

Cited by 9 publications

References 27 publications

Identification of proteins, drying oils, waxes and resins in the works of art micro‐samples by chromatographic and mass spectrometric techniques

Identification of proteins, drying oils, waxes and resins in the works of art micro‐samples by chromatographic and mass spectrometric techniques

Conservation of the Flowers Canvas Painting (1) at the Egyptian Agricultural Museum

Identification of the Painting Materials of a Unique Easel Painting by Mahmoud Sa'id

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