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 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 - 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 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 - CONF A1 - Hahn, Oliver T1 - More than 25 years of ink analysis non-destructive testing of black writing materials N2 - Writing inks can be divided into soluble inks and dispersion inks. Soluble inks are based on plant or insect dyes forming a water solution. In the early European Middle Ages brown plant inks were usually produced from the blackthorn bark and wine. In contrast to these soluble brown inks, one of the oldest black writing materials was produced by mixing soot with gum arabic or animal glue dissolved in a small amount of water. From Pliny’s detailed account of the manufacture of various black carbon inks, we learn that producing pure soot of high quality was not an easy task in Antiquity. Iron gall inks are a borderline case between these two groups. They are produced from four basic ingredients: gallic acid, an iron-containing component, gum arabic as a binding media, and an aqueous medium such as wine, beer, or vinegar. By mixing gallic acid with soluble iron ions, a water-soluble ferrous gallate complex is formed. Exposure to oxygen leads to the formation of insoluble black ferric gallate pigment. Due to the variety of recipes and the natural origin of raw materials, there is a wide range of different components and impurities in writing inks. The Bundesanstalt für Materialforschung und -prüfung (BAM) together with the Centre for the Study of Manuscript Cultures in Hamburg (CSMC) has developed a protocol for ink analysis. It consists of a primary screening to determine the type of the ink and a subsequent in-depth analysis using several spectroscopic techniques (X-ray fluorescence analysis and vibrational spectroscopy). This contribution presents a qualitative and quantitative analysis of historical writing inks to characterize distinguishable inks in manuscripts, to determine the origin of manuscripts, and to assign unknown fragments to time and place. T2 - Beyond the reconstruction of an Urtext: “About the history of the early Qurʾānic text with regard to digital research tools” CY - Hesse, Germany DA - 07.07.2025 KW - Archaeometry KW - Non-destructive testing KW - Material analysis KW - Cultural heritage PY - 2025 AN - OPUS4-63906 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CHAP A1 - Hahn, Oliver A1 - Golle, U. A1 - Wintermann, Carsten A1 - Laurenza, D. ED - Quenzer, J. B. T1 - Scientific Analysis of Leonardo’s Manuscript with Anatomic Drawings and Notes N2 - In this paper, we discuss the importance of scientifically investigating cultural artefacts in a non-invasive way. Taking as test case Leonardo da Vinci’s Manuscript with anatomic drawings and notes, which is stored in Weimar, we clarify fundamental steps in the chronology of this folio. By means of microscopy, infrared reflectography, UV photography, and X-ray fluorescence analysis, we were able to identify various types of sketching material and several varieties of iron gall ink. For his sketches, Leonardo used two different sketching tools, a lead pencil and a graphite pencil, as well as several types of ink for developing these sketches into drawings. With regard to ink, it is important to observe that there is no difference between the ink Leonardo used for drawing and the ink he used for writing text. Based on the materials analysed, we suggest a chronology for the creation of this unique folio. KW - Archaeometry KW - Non-invasive analysis KW - Drawings KW - Leonardo da Vinci PY - 2021 UR - https://nbn-resolving.org/urn:nbn:de:kobv:b43-543460 SN - 978-3-11-074545-0 DO - https://doi.org/10.1515/9783110753301-011 VL - 25 SP - 213 EP - 228 PB - Walter de Gruyter GmbH CY - Berlin/Boston AN - OPUS4-54346 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - BOOK A1 - Dietz, G. A1 - Eggert, Claudia A1 - Golle, U. A1 - Hahn, Oliver A1 - Ketelsen, T. A1 - Ludwig, A. A1 - Melzer, C. A1 - Rabin, Ira A1 - Wintermann, C. ED - Hahn, Oliver ED - Doil, Thorsten ED - Wintermann, C. T1 - The materiality of drawings - A scientific approach N2 - Volume 5 of the N.i.Ke. series presents the current state of materials science and imaging techniques used in the examination of drawings. The first part of the publication introduces the classic drawing substrates and materials. The middle part of the publication describes the relevant materials science and imaging techniques. The final part discusses the possibilities and limitations of these methods using several case studies. KW - Archaeometry KW - Paper KW - Parchment KW - Drawing materials KW - Drawings KW - Nondestructive testing PY - 2024 SN - 2567-1251 N1 - Es gibt eine parallele Sprachausgabe (deutsch), ein Link befindet sich im Feld zugehöriger Identifikator - There is a parallel language edition (German), a link is in the field related identifier VL - 5 SP - VII EP - 110 PB - Bundesanstalt für Materialforschung und -prüfung (BAM) CY - Berlin AN - OPUS4-63672 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CHAP A1 - Colini, Claudia A1 - Shevchuk, I. A1 - Huskin, K. A. A1 - Rabin, Ira A1 - Hahn, Oliver ED - Quenzer, J. B. T1 - A New Standard Protocol for Identification of Writing Media N2 - Our standard protocol for the characterisation of writing materials within advanced manuscript studies has been successfully used to investigate manuscripts written with a pure ink on a homogeneous writing surface. However, this protocol is inadequate for analysing documents penned in mixed inks. We present here the advantages and limitations of the improved version of the protocol, which now includes imaging further into the infrared region (1100−1700 nm). KW - Archaeometry KW - Manuscripts KW - Non-destructive testing PY - 2021 UR - https://nbn-resolving.org/urn:nbn:de:kobv:b43-543454 SN - 978-3-11-074545-0 DO - https://doi.org/10.1515/9783110753301-009 VL - 25 SP - 161 EP - 182 PB - Walter de Gruyter GmbH CY - Berlin/Boston AN - OPUS4-54345 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - JOUR A1 - Cohen, Zina A1 - Hahn, Oliver A1 - Rabin, Ira A1 - Ward, Aengus T1 - Centenary Paper: Of Inks and Scribes: The Composition of a Thirteenth-Century Castilian Manuscript – British Library Res 20787 N2 - This article presents the results of the first scientific analysis of the inks of a thirteenth-century Castilian manuscript – British Library Res 20787, a copy of the Fuero de las leyes. The analysis reveals the fingerprint of the inks used in the codex and points the way to future cross-disciplinary research based on a wider corpus of evidence. KW - Archaeometry KW - Manuscript KW - Colorant KW - Cinnabar PY - 2024 DO - https://doi.org/10.3828/bhs.2024.56 SN - 1475-3839 VL - 101 SP - 703 EP - 720 PB - Liverpool University Press AN - OPUS4-61435 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER - TY - CHAP A1 - Lange, D. A1 - Hahn, Oliver ED - Martin, E. ED - Brox, T. ED - Lange, D. T1 - Materials and materiality as keys to understanding a map of Mount Kailash N2 - While graphic and linguistic content is central to the identification of maps and can provide insights into the concepts and systems of rules, ideas and beliefs that led to their production, the materials that constitute maps may speak about manufacturing processes, the provenance of raw materials, the practical and technical knowledge of the mapmakers, and the use of the maps. This contribution underscores how the materials employed in Tibetan maps reveal aspects of their context and trajectory. Furthermore, materiality, conceptualized as a convergence of matter and imagination, can yield even more profound insights into artefacts like maps. Through a detailed case study of a map of Mount Kailash in the tangkha format and a specialized material-scientific analysis of the colourants employed in its creation, this contribution explores how a map can ‘talk’ through its materiality. With this case study it will show how Tibetan Studies can benefit from interdisciplinary collaboration. Crossing the field’s traditional boundaries and working with other disciplines, we argue, is absolutely essential for serious research. KW - Archaeometry KW - Non-destructive analysis KW - Cultural heritage PY - 2025 UR - https://nbn-resolving.org/urn:nbn:de:kobv:b43-648625 SN - 978-3-98887-016-2 DO - https://doi.org/10.11588/hasp.1522 SP - 147 EP - 176 PB - Heidelberg Asian Studies Publishing (HASP) CY - Heidelberg AN - OPUS4-64862 LA - eng AD - Bundesanstalt fuer Materialforschung und -pruefung (BAM), Berlin, Germany ER -