TY - JOUR A1 - Brozowski, E. A1 - Colini, C. A1 - Hahn, Oliver A1 - Rabin, Ira ED - Ayo, Charles K. T1 - Scientific investigations on paper and writing materials of Mali: A pilot study N2 - The investigation of physical properties and chemical composition generates data important for answering cultural-historical questions that cannot be solved by historical and philological methods alone. Due to technological developments, technical diagnostics in art and culture are in ever-greater demand in such fields of transdisciplinary research. Natural sciences play auxiliary role in the studies of manuscripts. The success of their contribution depends strongly on the formulation of the question, the choice of the methods to obtain the requested answer, and appropriate reference databases. First, report was given on the measurements performed on local raw materials, such as, plants, minerals and animals, which constitute the reference session. Then, the first results of the scientific analysis of several fragments from the Malian manuscript collections were present. KW - Manuscripts KW - Inks KW - Colorants KW - Non-destructive testing PY - 2019 U6 - https://doi.org/10.5897/JASD2017.0453 SN - 2141-2189 VL - 11 IS - 3 SP - 28 EP - 50 PB - Academic Journals CY - Nairobi, Kenya AN - OPUS4-48100 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CONF A1 - Hahn, Oliver T1 - Paper: history, manufacture, properties N2 - The lecture traces the origins of paper, the manufacture and the spread from China to the Middle East and Europe. Though technological progress considerably affected each step of the manufacture of paper, the essence of the invention remains unchanged until today. The process of manufacturing handmade paper can be divided into a number of steps: - choosing the raw material (e.g. cellulose from wood, cotton, rags) - beating and grinding the fibres into small pieces - producing a liquid pulp of the desired texture - treating the pulp with various additives - filling the pulp suspension into a paper mould - draining the water - pressing and drying to get the actual sheet - various post-production treatments We will see how the manufacturing process is reflected in the properties of the paper and its degradation. A special attention will be paid to the instrumental analysis for identification of the paper types. Also watermark play an important role in the studies of the manuscripts. A short overview will be offered at the ends of the lecture. T2 - Summer School Manusciences 19 CY - Frejus, France DA - 10.03.2019 KW - Material science KW - Cultural heritage PY - 2019 AN - OPUS4-48140 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Steger, Simon A1 - Oesterle, D. A1 - Bretz, S. A1 - Frenzel, L. A1 - Stege, H. A1 - Winkelmeyer, I. A1 - Hahn, Oliver A1 - Geiger, G. T1 - Kandinsky’s fragile art: a multidisciplinary investigation of four early reverse glass paintings (1911–1914) by Wassily Kandinsky N2 - This work highlights the rediscovery of the technique of reverse glass painting by the artists of the “Blaue Reiter” collective in the early 20th-century and focusses particularly on the role of Wassily Kandinsky (1866–1944). Kandinsky created more than 70 reverse paintings on glass and showed several of them in exhibitions together with paintings on canvas and cardboard, implying a coequal importance of these techniques. Four of his early (1911–1914) reverse glass paintings (Auferstehung, Allerheiligen II, Rudern, Apokalyptischer Reiter II) were selected for investigation and their iconography, painting techniques and painting materials were examined. Two paintings were executed on so-called cathedral glass, revealing a “hammered surface”, whereas Kandinsky used a corrugated glass panel for Rudern. A multi-analytical, non-invasive approach [X-ray fluorescence (XRF), diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS), VIS spectroscopy (VIS), Raman spectroscopy] was taken to identify the pigments and classify the binding media. The results reveal a broad palette of materials. Several pigments like lead white, zinc white, Strontium yellow, Prussian blue, viridian, cadmium yellow, ultramarine blue, cinnabar and carbon black were found in most of the four paintings. The use of the rare synthetic organic pigments PR60 and PB52 is discussed. In two works of art, cadmium carbonate is associated with cadmium yellow. The identification of aluminium foil along with tin foils in Rudern indicates an early use of this material for reverse glass paintings. KW - Reverse glass painting KW - Non-invasive analysis KW - Raman spectroscopy KW - DRIFTS PY - 2019 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:b43-480075 VL - 7 IS - 27 SP - 1 EP - 17 PB - Springer AN - OPUS4-48007 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Steger, Simon A1 - Stege, H. A1 - Bretz, S. A1 - Hahn, Oliver T1 - A complementary spectroscopic approach for the non-invasive in-situ identification of synthetic organic pigments in modern reverse paintings on glass (1913–1946) N2 - This work addresses the identification of synthetic organic pigments (SOP) in eight modern reverse paintings on glass (1913–1946) by means of an in-situ multi-analytical approach. We combined the complementary properties of mobile Raman spectroscopy and diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS) to overcome the main disadvantages of each method: extensive band overlapping in DRIFT spectra and fluorescence problems in Raman spectra. A collection of DRIFTS reference spectra enables a precise pigment identification by DRIFTS and establishes this method as a serious non-destructive alternative for the identification of SOP. The group of β-naphthol pigments yielded valuable results for both methods, whereas synthetic alizarin (PR83) was preferentially detected by DRIFTS. Finally, uncommon triaryl carbonium pigments and two azo group-based yellows were identified in the paintings by means of Raman spectroscopy. KW - Synthetic organic pigments KW - DRIFTS KW - Raman spectroscopy KW - Reverse glass painting PY - 2019 U6 - https://doi.org/10.1016/j.culher.2019.01.011 SN - 1296-2074 SN - 1778-3674 VL - 38 SP - 20 EP - 28 PB - Elsevier Masson SAS. AN - OPUS4-48008 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Nöller, Renate A1 - Danielewski, A. A1 - Giel, R. A1 - Overgaauw, E. A1 - Hahn, Oliver T1 - Material analysis of Aztec codices in Berlin. Assignment of small fragments compiled as cutouts on one plate in Humboldt’s “Atlas pittoresque du voyage” N2 - The collection Manuscripta Americana in Berlin consists of fragmented codices acquired by Alexander von Humboldt in Mexico. Some of these Humboldt Codices are published as hieroglyphic writings of the Aztecs in “Vues des Cordilleres et Monuments des Peuples indigènes de l’Amerique”. Starting from a special compilation of seven fragments on plate 36 in the “Atlas”, we investigated the corresponding original fragments using material analysis in order to clarify their historical relations. The analyses were carried out with X-ray fluorescence analysis, VIS spectroscopy, and infrared spectroscopy in diffuse reflection and revealed typical indigenous colors like cochineal, indigo, and organic yellows (e.g. mangrove and zacatlaxcalli). Four fragments under investigation show exactly the same material and thus must once have belonged together in one compendium. An additional manuscript from Mizquiahuala also shown on plate 36 can be matched to another one that is not published in the “Atlas”. KW - Manuscripts KW - Alexander von Humboldt KW - Non-destructiv testing KW - Colourants KW - Writing materials PY - 2019 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:b43-498971 SN - 2054-8923 SP - 1 EP - 14 PB - Routledge, Taylor & Francis Group CY - London AN - OPUS4-49897 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Steger, Simon A1 - Oesterle, D. A1 - Mayer, R. A1 - Hahn, Oliver A1 - Bretz, S. A1 - Geiger, G. T1 - First insights into Chinese reverse glass paintings gained by non-invasive spectroscopic analysis-tracing a cultural dialogue N2 - This work presents a technical investigation of two Chinese reverse glass paintings from the late 19th and early 20th centuries. A multi-analytical, non-invasive approach (X-ray fluorescence (XRF), diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS), Raman spectroscopy) was used to identify the pigments and classify the binding media. The results reveal a combined use of traditional Chinese and imported European materials. Several pigments like cinnabar, lead white, orpiment, carbon black and copper-arsenic green (probably emerald green) were found in both paintings; red lead, artificial ultramarine blue, Prussian blue and ochre appear in at least one of the paintings. The proof of limewash (calcite and small amounts of portlandite) as a backing layer in Yingying and Hongniang indicates that clamshell white was also used for reverse glass paintings. Drying oil was classified as a binding media in most areas of both paintings. However, the orange background of The Archer yielded prominent bands of both proteinaceous and fatty binder. KW - Non-invasive analysis KW - Reverse glass painting KW - Pigment identification KW - DRIFTS KW - Raman spectroscopy PY - 2019 U6 - https://doi.org/10.1007/s12520-019-00799-3 SN - 1866-9557 SN - 1866-9565 VL - 11 IS - 8 SP - 4025 EP - 4034 PB - Springer AN - OPUS4-47364 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Steger, Simon A1 - Bretz, Simone A1 - Stege, Heike A1 - Hahn, Oliver T1 - Methodological approach for in situ spectroscopic analysis of modern reverse paintings on glass: A case study of Kreuzabnahme (1914/15) - an outstanding example by Carlo Mense N2 - A non-invasive methodological approach has been carried out to identify the pigments and classify the binding media of the reverse painting on glass Kreuzabnahme (1914/15) by Carlo Mense. Mense was a member of the group Rhenish Expressionists around August Macke and got interested in the technique of painting on the reverse side of a glass panel. The studied painting indicates a remarkably painted reverse and front side, which creates a unique visual appearance of the glass. The applied noninvasive, spectroscopic approach includes X-ray fluorescence, VIS spectroscopy, Raman spectroscopy and diffuse reflectance infrared Fourier transform spectroscopy. The measurements revealed inorganic Pigments mixed with drying oil as binder. Together with common pigments, such as lead white, barium sulphate, bone black, cinnabar, chrome yellow, ochre, and viridian, an unusual additional material was found, Strontium white. KW - Reverse glass painting KW - Non-invasive analysis KW - DRIFTS KW - Pigment identification PY - 2019 U6 - https://doi.org/10.1140/epjp/i2019-12549-6 SN - 2190-5444 VL - 134 IS - 2 SP - 64, 1 EP - 8 PB - Springer CY - Berlin AN - OPUS4-47365 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER -