TY - JOUR A1 - Steger, Simon A1 - Stege, H. A1 - Bretz, S. A1 - Hahn, Oliver ED - Tomasin, P. T1 - Disclosing glittering and sparkling effects in 20th-century reverse glass paintings: a study of metallic pigments and metal foils by means of in situ XRF and DRIFTS analysis JF - Journal of Cultural Heritage N2 - This work presents a spectroscopic study of metallic pigments and metal foils used in reverse glass paintings that were created between 1912 and 1954. Metallic pigments induce a notable sparkling effect by means of the lateral incidence of light, whereas metal foils enhance the gloss and create a glittering effect when the painting is viewed in reflected light. Both effects were desired features especially in modern reverse paintings on glass and applied by artists in manifold creative manner. The paper gives an overview on the composition of the metalfoils and metal pigments in 14 works as determined in situ by X-ray spectrometry. Metal foils made of tin, brass, aluminium and silver were found in nine paintings. Gold imitating Cu-Zn pigments in different hues and with various Cu/Zn net intensity ratios were recorded for six paintings. Silvery pigments were identified mainly as Al pigments, but also as Cu-Zn-Ni alloy in one case. Other uncommon metallic pigments were detected in Arlequin vindicatif (c. 1925) by Floris Jespers, who used not only Cu-Zn and Al pigments, but also brownish Cu and Cu-Zn-Sn pigments. Non-invasive diffuse reflectance infrared Fourier-transform spectroscopy (DRIFTS) was used to classify the binding media of the metallic pigments. Drying oil and natural resin probably mixed with oil were the most common binding media. A polysaccharide-based binder was found in the silvery Cu-Zn-Ni pigment of Ohne Titel (1954) by Marianne Uhlenhuth. KW - Archaeometry KW - Non-invasive analysis KW - Reverse paintings on glass PY - 2020 DO - https://doi.org/10.1016/j.culher.2020.11.008 SN - 1296-2074 VL - 48 SP - 196 EP - 204 PB - Elsevier Masson SAS CY - Amsterdam AN - OPUS4-54428 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Ketelsen, T. A1 - Wintermann, Carsten A1 - Melzer, C. A1 - Dietz, Georg A1 - Golle, U. A1 - Hahn, Oliver ED - Cole, M. ED - Dogramaci, B. ED - Lehmann, A.-S. ED - Sölch, B. ED - Wedekind, G. T1 - Connoisseurship and the Investigation of Materiality: Four “Rembrandt” Drawings in Weimar JF - Zeitschrift für Kunstgeschichte N2 - The aim of this paper is to present the productive interplay of connoisseurship and material analysis when dealing with drawings by Rembrandt – or previously attributed to him – in the collection of the Klassik Stiftung Weimar. This concerns the more precise determination of the drawing materials used and the reconstruction of the genesis of the drawings discussed. The material analysis allows us to decide whether and how Rembrandt’s inks can be used to determine authorship at all. The “material turn” in drawing studies thus intervenes in the discussion about authorship and opens up a broader production aesthetic perspective. No longer the “style” but rather the handeling becomes the decisive criterion for answering the question “Rembrandt, or not?” KW - Archaeometry KW - History of Art KW - Drawings KW - Rembrandt PY - 2021 SN - 0044-2992 VL - 84 IS - 4 SP - 483 EP - 518 PB - Deutscher Kunstverlag CY - Berlin/München AN - OPUS4-54342 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Grzegorz, Nehring A1 - Krutzsch, M. A1 - Rabin, Ira T1 - Tuschenanalyse im P 11702 T1 - Ink Analysis in P 11702 JF - Archiv für Papyrusforschung und verwandte Gebiete N2 - Near-inframed reflectography and imaging X-Ray flourescence analysis reveal that carbon inks of two different compositions were used in the papyrus manuscript Berlin P 11702. in contrast with the writing ink, one of the carbon drawing inks contained a significant addition of iron. This result emphasises the need for routine instrumental ink analysis. KW - Papyrus KW - Ink analysis KW - X-Ray flourescence spectroscopy KW - Near-infrared refelctography PY - 2021 DO - https://doi.org/10.1515/apf-2021-0026 SN - 1867-1551 VL - 67 IS - 2 SP - 277 EP - 282 PB - De Gruyter AN - OPUS4-53942 LA - deu AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Maltomini, F. A1 - Ghigo, T. A1 - Hahn, Oliver A1 - Rabin, Ira ED - Fournet, J.-L. ED - Kramer, B. ED - Luppe, W. ED - Maehler, H. ED - McGing, B. ED - Poethke, G. ED - Reiter, F. ED - Richter, S. T1 - Florentine papyri under examination: The material study of the inks used at the beginning of the Common Era in the "Family of Kôm Kâssûm" Archive (Hermopolis) JF - Archiv für Papyrusforschung und verwandte Gebiete N2 - Carbon inks with metallic admixtures are found on some papyri of the 2nd century CE from a family archive in Hermopolis. The great diversity of inks found in a single household within a short period of time suggests that inks were purchased rather than self-made. KW - Carbon ink KW - Iron-gall ink KW - Mixed ink KW - XRF ink analysis KW - Family archives KW - Hermopolis PY - 2021 DO - https://doi.org/10.1515/apf-2021-0010 SN - 0066-6459 SN - 1867-1551 VL - 67 IS - 1 SP - 146 EP - 165 PB - De Gruyter CY - Berlin AN - OPUS4-53160 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Nehring, Grzegorz A1 - Gordon, Nehemia A1 - Rabin, Ira T1 - Distinguishing between seemingly identical inks using scanning μXRF and heat maps JF - Journal of Cultural Heritage N2 - This study will present a new approach to distinguishing writing inks that have the same elemental compositions and visual appearances. The approach is based on displaying the intensity of elemental distributions as heat maps that represent data recorded with a scanning μX-ray fluorescence spectrometer. The heat maps present the data so as to facilitate digitally identifying and distinguishing between inks used to produce, correct, and reink two medieval Torah scrolls. As ritual objects, Torah scrolls had to be written in accordance with exacting standards that evolved over time. This requirement led to successive stages of modifications, sometimes over centuries. Both vitriolic and non-vitriolic inks used to modify Torah scrolls can be visually identical to each other. Furthermore, different non-vitriolic inks usually have an identical elemental composition. The solid material analysis evidence and its presentation as heat maps made it possible to discriminate between original and altered portions of text that in some cases would have been impossible. Our interdisciplinary work brought together conservation, material science, paleog-raphy, and philology to enable the identification of complex stratigraphy in multiple stages of production, correction, and reinking. ©2 0 2 2 Published by Elsevier Masson SAS. KW - Spectroscopy KW - Scanning micro-X-ray fluorescence KW - Vitriolic iron-gall inks KW - Non-vitriolic iron-gall inks KW - Heat maps KW - Torah scrolls KW - Scribal corrections PY - 2022 UR - https://nbn-resolving.org/urn:nbn:de:kobv:b43-557271 DO - https://doi.org/10.1016/j.culher.2022.07.007 SN - 1296-2074 VL - 57 SP - 142 EP - 148 PB - Elsevier Masson SAS AN - OPUS4-55727 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Nehring, Grzegorz A1 - Girard, Solène A1 - Rabin, Ira T1 - Conservation and Technical Evaluation of an Early Medieval Papyrus Codex JF - Studies in Conservation N2 - In 2005, a team of Polish archaeologists discovered three Coptic codices, two on papyrus and one on parchment, in the rubbish dump of a hermitage at Sheik Abd el-Gurna, Egypt. While the parchment codex and the remains of the bindings of the papyrus ones have been conserved, the text blocks of the papyrus codices were opened and disassembled and after being disinfected remained untouched for nearly 15 years, until the current project started. Currently, all three books are stored in the collection of the Coptic Museum in Cairo. Our team undertook the conservation of and archaeometric research on the papyrus codices. The first of the books contains the Canons of Pseudo-Basil, while the second is an Encomium of St. Pisenthios. Both codices have been palaeographically dated to the seventh-eighth centuries CE. In this paper, we describe our project and present the results of the work carried out on the Canons of Pseudo-Basil. Our work involved photography in transmitted light, measurements of the thickness of the papyrus leaves, and digital microscopy under three-light illumination. These measurements allowed us to determine the types of the inks and characterize the papyrus writing substrate. For conservation, we used a novel method developed in the Egyptian Museum in Berlin that comprises suspending papyrus folios on a translucent, extremely thin Japanese paper inside glass frames without the use of adhesives.In 2005, a team of Polish archaeologists discovered three Coptic codices, two on papyrus and one on parchment, in the rubbish dump of a hermitage at Sheik Abd el-Gurna, Egypt. While the parchment codex and the remains of the bindings of the papyrus ones have been conserved, the text blocks of the papyrus codices were opened and disassembled and after being disinfected remained untouched for nearly 15 years, until the current project started. Currently, all three books are stored in the collection of the Coptic Museum in Cairo. Our team undertook the conservation of and archaeometric research on the papyrus codices. The first of the books contains the Canons of Pseudo-Basil, while the second is an Encomium of St. Pisenthios. Both codices have been palaeographically dated to the seventh-eighth centuries CE. In this paper, we describe our project and present the results of the work carried out on the Canons of Pseudo-Basil. Our work involved photography in transmitted light, measurements of the thickness of the papyrus leaves, and digital microscopy under three-light illumination. These measurements allowed us to determine the types of the inks and characterize the papyrus writing substrate. For conservation, we used a novel method developed in the Egyptian Museum in Berlin that comprises suspending papyrus folios on a translucent, extremely thin Japanese paper inside glass frames without the use of adhesives. KW - Papyrus KW - Codex KW - Conservation KW - Iron gall ink KW - Coptic PY - 2023 UR - https://nbn-resolving.org/urn:nbn:de:kobv:b43-570998 DO - https://doi.org/10.1080/00393630.2023.2183554 SN - 0039-3630 SP - 1 EP - 12 PB - Taylor & Francis AN - OPUS4-57099 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 - Capabilities and limitations of handheld Diffuse Reflectance Infrared Fourier Transform Spectroscopy (DRIFTS) for the analysis of colourants and binders in 20th-century reverse paintings on glass JF - Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy N2 - A non-invasivemethod has been carried out to show the capabilities and limitations of Diffuse Reflectance Infrared Fourier Transform Spectroscopy (DRIFTS) for identifying of colourants and binders in modern reverse glass paintings. For this purpose, the reverse glass paintings “Zwei Frauen am Tisch” (1920–22), “Bäume” (1946) (both by Heinrich Campendonk), “Lofoten” (1933) (Edith Campendonk-van Leckwyck) and “Ohne Titel” (1954) (Marianne Uhlenhuth), were measured. In contrast to other techniques (e.g. panel and mural painting), the paint layers are applied in reverse succession. In multi-layered paint systems, the front paint layer may no longer be accessible. The work points out the different spectral appearance of a given substance (gypsum, basic lead white) in reverse glass paintings. However, inverted bands, band overlapping and derivative-shaped spectral features can be interpreted by comparing the spectra fromthe paintingswith spectra frompure powders and pigment/linseed oil mock-ups. Moreover, the work focuses on this method's capabilities in identifying synthetic organic pigments (SOP). Reference spectra of three common SOP (PG7, PY1, PR83) were obtained from powders and historical colour charts.We identified PR83 and PY1 in two reverse glass paintings, using the measured reference spectra. The recorded DRIFTS spectra of pure linseed oil, gum Arabic, mastic, polyvinyl acetate resin and bees wax can be used to classify the binding media of the measured paintings. KW - DRIFTS KW - Painting KW - Non-invasive KW - Pigment PY - 2018 DO - https://doi.org/10.1016/j.saa.2018.01.057 SN - 1873-3557 VL - 195 SP - 103 EP - 112 PB - Elsevier B.V. AN - OPUS4-44023 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Ghigo, Tea A1 - Rabin, Ira A1 - Buzi, P. T1 - Black Egyptian inks in Late Antiquity: new insights on their manufacture and use JF - Journal of Archaeological and Anthropological Sciences N2 - We present here our methodological approach applied to the study of Egyptian inks in Late Antiquity. It is based on an interdisciplinary strategy, bringing together a variety of disciplines from humanities and natural sciences, and it aims at systematically collecting a statistically relevant amount of data regarding the composition of the inks. The application of a wellestablished, non-invasive protocol that includes near-infrared imaging and X-ray fluorescence spectroscopy for in situ measurements enables the identification and characterisation of inks dating from the end of Late Antiquity onwards. However, sometimes this method limits our understanding when characterising more ancient inks. Trying to overcome these limitations, the potential of a new device for the characterisation of organic compounds is here explored by conducting preliminary tests on mock samples. In this work, we present the results from 77 codicological units that include some of the earliest manuscripts of our corpus that presently lists 159 units. KW - Ink KW - Archaeometry KW - Manuscripts KW - Coptic KW - Egypt PY - 2020 UR - https://nbn-resolving.org/urn:nbn:de:kobv:b43-503893 DO - https://doi.org/10.1007/s12520-019-00977-3 VL - 12 IS - 3 SP - 1 EP - 14 PB - Springer AN - OPUS4-50389 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 JF - Heritage Science 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 UR - https://nbn-resolving.org/urn:nbn:de:kobv:b43-480075 DO - https://doi.org/10.1186/s40494-019-0268-8 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) JF - Journal of Cultural Heritage 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 DO - 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 -