Improvements in the wallpaper industry during the second half of the 19th century: micro-Raman spectroscopy analysis of pigmented wallpapers

Non-Destructive Analytical Investigation of Decorative Wallpapers Samples of the Nineteenth Century before Their Restoration

In this work, decorative wallpapers (19th century) from an historical palace located in Oiartzun (Basque Country, Spain) were analyzed before their restoration. Micro-energy dispersive X-ray fluorescence spectroscopy, Raman spectroscopy, and attenuated total reflectance infrared spectroscopy were used to investigate the elemental and molecular composition of pigments, the presence of binders, and the state of conservation of the paper support. The aim of the investigation was trying to understand the possible degradation pathways and identify the raw materials in order to choose the best restoration protocol according to the original aspect of wallpapers. As stated from both the elemental distribution and the identification of mineral phases by Raman spectroscopy, the most used pigment was lead chromate. It was mixed with other pigments such as ultramarine blue, zinc chromate, hematite, and atacamite among others to obtain different shades and they were applied mixed with an animal glue. Brass, identified thanks to elemental micro-EDXRF maps, was employed as a shiny decorative element. In addition, a partial degradation of cellulose was detected due to its natural ageing, the acidic nature of lignin, and to a phenomenon of humidity of the walls. Probably the deposition of black particulate matter was the cause of the darkening of the painting surfaces.

Finnish wallpaper pigments in the 18th-19th century: presence of KFe3(CrO4)2(OH)6 and odd pigment mixtures

Several Finish wallpapers from the 18th and 19th century were analysed by using Raman spectroscopy assisted with EDXRF instrumentation, in an attempt of determine the pigments used in their manufacture process as well as of trying to date some of the samples through pigment composition. All pigments present in samples were determined and surprisingly the unusual and strange iron (III) chromate yellow pigment was found. Besides, unusual mixtures were found to obtain fashionable colours, especially in blue and green areas, where more than one blue pigments were mixed with green and yellow pigments. Blue verditer, ultramarine blue, Prussian blue, chrome yellow, calcite, lead white, red and yellow iron oxide, gypsum and carbon black were identified. The presence of the risky and poisonous emerald green must be highlighted. The results were compared with those found in other wallpapers from Spain and France.

Beachrock formation in temperate coastlines: examples in sand-gravel beaches adjacent to the Nerbioi-Ibaizabal Estuary (Bilbao, Bay of Biscay, North of Spain)

Beachrocks are coastal sedimentary formations resulting from a relative rapid cementation of beach sediments by the precipitation of carbonate cements. These lithified structures are not usually observed at temperate settings. The present work is focused on the occurrence of a significant intertidal cementation in sand-gravel beaches formed among 43°N latitude coastline, close to the Nerbioi-Ibaizabal estuary (Bilbao, Bay of Biscay, North of Spain). Raman micro-spectroscopy combined with SEM-EDX analyses and petrographic descriptions have been applied for the determination of the cement generations and the cemented materials compositions of the beachrock outcrops. In general terms, the cements described were: Cement Generation 1 (CG 1, aragonite, high-magnesium calcite and silicate mixtures), Cement Generation 2 (CG 2, aragonite) and Cement Generation 3 (CG 3, mixtures of CaCO(3) polymorphs and iron oxides). The rest of the interstitial porosity of the rocks appeared either empty or filled with heterogeneous cemented mixtures of previously reworked compounds. The mineralogy, the regular distribution and the isopachous character of the carbonate cements together with the accurate cementation at advanced seaward bands propose a possible marine-phreatic context for the beachrock formation. However, the impure cements and the materials covering the interstitial porosity seem to be the result of both, the weathering actions consequences and the surface alterations of specific grains. Moreover, the presence of modern cemented materials (e.g. slag, bricks and pebbles) suggest a recent formation of the phenomenon.

Library of UV-Vis-NIR reflectance spectra of modern organic dyes from historic pattern-card coloured papers

An accurate characterisation of the organic dyes used in artworks, especially those made of paper, is an important factor in designing safe conservation treatments. In the case of synthetic organic dyes used in modern works of art, for example, one frequently encountered difficulty is that some of these dyes are not still commercially available. Recognizing this problem, the authors of this paper present the results of an analysis of UV-Vis-NIR fibre optic reflectance spectra of 82 samples of dyed paper prepared with 41 dyes. The samples come from a historic book, The Dyeing of Paper in the Pulp, which was published by Interessen-Gemeinschaft (I.G.) Farbenindustrie in 1925. The dyes used in the paper pulp belong to the azo compounds, acridine, anthraquinone, azine, diphenylmethane, indigoid, methine, nitro, quinoline, thiazine, triphenylmethane, sulphur and xanthene classes.

Raman spectroscopy for the identification of pigments and color measurement in Dugès watercolors

Spectroscopic and colorimetric analysis of a representative set of Dugès watercolor paintings was performed. These paintings were the result of scientific studies carried out by the zoologist Alfredo Dugès, who recorded the fauna of the Mexican Republic between 1853 and 1910. Micro-Raman spectroscopy, with an excitation wavelength of 830 nm, and colorimetric techniques were employed in order to understand if different colors with the same hue were reproduced using the same pigments. The color coordinates of the measured areas were obtained in the CIEL*a*b* color space. Raman analysis showed that, in some cases, to reproduce colors with the same hue the pigment employed was not the same. Pigments identified in the watercolors were vermilion, carbon-based black, lead white, gamboge and chrome yellow, Prussian and ultramarine blue. Some of these pigments have been used since ancient times, others as Prussian blue, chrome yellow and synthetic ultramarine blue arrived to the market at the beginning of the 18th and 19th centuries, respectively. Furthermore, regarding the white color, instead of left the paper unpainted, lead white was detected in the eye of a bird. The green color was obtained by mixing Prussian blue with chrome yellow. The results of this work show the suitability of using Raman spectroscopy for watercolor pigment analysis and colorimetric techniques to measure the color of small areas (246 microm x 246 microm) that was the case for the lead white pigment.

Non-destructive and non-invasive analyses shed light on the realization technique of ancient polychrome prints

Five polychrome prints representing famous painters, such as Albrecht Dürer, were analyzed using a non-destructive and non-invasive methodology as required by the artwork typology. The diagnostic strategy includes X-ray fluorescence (XRF), reflectance micro-infrared (microFTIR) and micro-Raman (microRaman) spectroscopy. These prints were realized with a la poupée method that involves application of the polychrome inks on a single copper plate, before the printing process. A broad range of compounds (i.e., cinnabar, red lead, white lead, umber earth, hydrated calcium sulfate, calcium carbonate, amorphous carbon, and Prussian blue) was employed as chalcographic inks, using linseed oil as a binding medium. Gamboge was identified in the delicate finishing brush touches realized in watercolor.

Application of Raman microscopy to the characterization of different verdigris variants obtained using recipes from old treatises

Verdigris is an historical pigment of synthetic origin widely used in the artistic scope, from the antiquity to beginning of 19th century. It is a greenish or green-bluish colored product resulting from corrosion of pure copper and alloys caused by the action of different chemical reagents. The preparation recipes are numerous and appear in old texts, such as: treatises of art and texts of alchemy, as well as in books of secrets, natural history and those concerning medicines. A comparative study of these recipes shows significant differences depending on the initial components and the methodology applied in the synthesis of the pigment. Consequently, typical verdigris pigments very likely correspond to a variety of chemical compositions and, in addition, it might contain certain amounts of unknown by-products. To confirm such hypothesis, four different preparation recipes of verdigris have been carefully reproduced in our laboratory, and characterized by Raman microscopy. Our experiments allowed us to establish interesting differences among the studied samples. Some differences are mostly related to the ingredients used in the elaboration of the so-called raw verdigris. In other cases, the observed variations are consequence of the recrystallization treatment of the pigment. In general, all spectra reveal the existence of common component, namely, the copper(II) acetate (hydrated or anhydrous). However, other minority components have been detected in our samples, for instance, copper oxides, copper chlorides, and ammonic salts. In some cases, these compounds allow us to deduce the type of recipe used in the elaboration of the pigment.

Non-invasive and non-destructive micro-XRF and micro-Raman analysis of a decorative wallpaper from the beginning of the 19th century

Non-destructive and non-invasive micro-Raman fibre optic and micro-XRF analyses were performed to study a wallpaper from the beginning of the 19th century. The complementarity of these two non-destructive techniques is shown in this work. The analysed artwork is considered one of the most beautiful wallpapers ever manufactured according to the catalogues and books; it is known as Chasse de Compiègne, manufactured by Jacquemart, Paris, in 1812. During the analysis, an unexpected pigment was detected by both analytical techniques: lead-tin yellow type II. This pigment was used until ca. 1750, when other yellow pigments replaced it, thus it is very difficult to find it in paintings afterwards. Together with this pigment, red lead, Prussian blue, brochantite, yellow iron oxide, calcium carbonate, vermilion, carbon black of animal origin (bone black), lead white, and raw and burnt sienna were also determined by combining the analytical information provided by both techniques. A possible degradation of brochantite to antlerite is also discussed.