The chemistry behind the first Portuguese postage stamps (1853–1894). A non-destructive analytical and chemometric analysis of pigments, fillers and binders

Ferreira, Simone C. R.; Franchi, Martina; Pais, Alberto; Melo, J. Sérgio Seixas de

doi:10.1016/j.dyepig.2022.110519

Cited by 2 publications

(1 citation statement)

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“…In addition, there is a peak of -OH stretching at 3270 cm −1 , vibrational stretching and bending of -CH in the region 1470-1350 cm −1 and stretching of -CO in the region between 1200 cm −1 and 1000 cm −1 [53,54]. The peak at 2088 cm −1 is related to the C≡N stretching mode and is characteristic of Prussian blue (Fe 4 [Fe(CN) 6 ] 3 ) [55,56], a result consistent with the large presence of Fe found with XRF. In this case, the employed GC-MS methodology enables us to identify only traces of fatty acids in samples collected from 226D and 268D fragments.…”

Section: Polychrome Textilesmentioning

confidence: 99%

Unveiling Polychrome Printing Methods on Textiles: Preliminary Results from the Mariano Fortuny y Madrazo Collection in Venice

Farinelli,

Falchi,

da Roit

et al. 2024

Heritage

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At the beginning of the 20th century, the eclectic artist Mariano Fortuny y Madrazo patented two innovative methods for polychrome printing on fabrics and textiles, giving life to Fortuny fabric production in Venice. The first patent was related to colour application, while the second to a special machine that allows continuous printing using cylindrical rollers. Despite the descriptions, the methodology and materials used remain a secret. In collaboration with the Fortuny Museum in Venice, this research aimed at studying and identifying the different steps of Fortuny printing methodologies. Printing matrices, fabrics and raw materials found in the artist’s studio were analysed in a multi-analytical campaign through digital microscopy, X-ray fluorescence (XRF), Fourier-transform infrared spectroscopy in attenuated total reflectance (FTIR-ATR), μ-Raman spectroscopy and gas chromatography–mass spectrometry (GC–MS). Three main pigments were identified in paper samples: ivory black, a copper-based pigment, and a carbon black pigment with ultramarine for blues. The pigments were bound with linseed oil and colophony in varying proportions. Polychrome silk fabrics were dyed with a base colour, and then the coloured patterns were superimposed by continuous printing. Prussian blue was identified as one of the textile inks. Results provided a better understanding of printing methodology.

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Section: Polychrome Textilesmentioning

confidence: 99%