Mapping Henry: Synchrotron-sourced X-ray fluorescence mapping and ultra-high-definition scanning of an early Tudor portrait of Henry VIII

Dredge, Paula; Ives, Simon; Howard, Daryl L.; Spiers, Kathryn; Yip, Andrew Kam-Tuck; Kenderdine, Sarah

doi:10.1007/s00339-015-9455-y

Cited by 19 publications

(14 citation statements)

References 10 publications

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“…The authors expect that integral chemical imaging of paintings by MA‐XRF and/or other means will soon become a standard procedure during major restorations of painted artworks. As objectification of decisions, elaborate documentation, and public motivation of treatments become increasingly important in modern conservation, so does detailed elemental/chemical imaging of the artworks before, during, and after the conservation treatments . Future efforts will focus on reducing the total required MA‐XRF scanning time by enhancing the sensitivity of the analyzer and by implementing complimentary imaging techniques in the same setup (for example, based on the reflectance of visible and infrared radiation) with the aim of corroborating the deduced paint layer sequence versus depth and collecting information on organic paint components …”

Section: Figurementioning

confidence: 99%

Large‐Area Elemental Imaging Reveals Van Eyck's Original Paint Layers on the Ghent Altarpiece (1432), Rescoping Its Conservation Treatment

et al. 2017

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A combination of large-scale and micro-scale elemental imaging, yielding elemental distribution maps obtained by, respectively non-invasive macroscopic X-ray fluorescence (MA-XRF) and by secondary electron microscopy/energy dispersive X-ray analysis (SEM-EDX) and synchrotron radiation-based micro-XRF (SR m-XRF) imaging was employed to reorient and optimize the conservation strategy of van Eycks renowned Ghent Altarpiece. By exploiting the penetrative properties of X-rays together with the elemental specificity offered by XRF, it was possible to visualize the original paint layers by van Eyck hidden below the overpainted surface and to simultaneously assess their condition. The distribution of the high-energy Pb-L and Hg-L emission lines revealed the exact location of hidden paint losses, while Fe-K maps demonstrated how and where these lacunae were filled-up using an iron-containing material. The chemical maps nourished the scholarly debate on the overpaint removal with objective, chemical arguments, leading to the decision to remove all skillfully applied overpaints, hitherto interpreted as work by van Eyck. MA-XRF was also employed for monitoring the removal of the overpaint during the treatment phase. To gather complementary information on the in-depth layer build-up, SEM-EDX and SR m-XRF imaging was used on paint cross sections to record microscale elemental maps.Several methods for obtaining information about the distribution of pigments and other chemical constituents of artworks have been developed; [1] such methods are necessarily non-invasive and employ radiation in the infrared, visible, ultraviolet or X-ray range. Traditionally, the spectroscopic characterization of artworks was done on a point-by-point basis, an approach that has inherent limitations with respect to representativeness. The recent transformation of spectroscopic instrumentation into mobile scanning systems [2][3][4][5] that allow the examination of all locations on the surface of (flat) artworks, proved to have a significant added-value for the study of cultural heritage objects. These forms of (spectro)-chemical imaging allow the consideration of large and complex spectroscopic datasets as (hyperspectral) image stacks that are (more) easily understandable by non-chemists such as art conservators and art historians than extensive series of spectral data derived from individual points. Whereas subtle point-to-point variations in the spectral response may be hard to notice and even more difficult to interpret correctly, gradual compositional variations that become apparent in large-scale chemical or elemental maps are usually much easier to link to (in)visible features of the paint surface and/or its conservation state.Since its introduction by Alfeld et al., [2] mobile MA-XRF scanning has met with considerable attention and success, for example, by supplying new and pivotal arguments for authentication of high-profile works of art in cases in which more conventional analytical and/or imaging techniques led only to ambiguous in...

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Section: Figurementioning

confidence: 99%

Large‐Area Elemental Imaging Reveals Van Eyck's Original Paint Layers on the Ghent Altarpiece (1432), Rescoping Its Conservation Treatment

et al. 2017

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“…Also, the geometry of the interface has been investigated using different microscopy techniques [8,9]o rb y applying synchrotron [10,11] methods. Nevertheless, nondestructive X-ray imaging techniques have a larger potential for documentation and diagnosis of cultural heritage objects such as old violins [12][13][14]. Also, the physical and mechanical properties of contemporary and old varnishes and their impact on vibro-mechanics and hygroscopicity of the coated wood are not well studied.…”

Section: Introductionmentioning

confidence: 99%

Relationship of vibro-mechanical properties and microstructure of wood and varnish interface in string instruments

et al. 2016

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Wood varnish coatings not only are aesthetically important, but also preserve the musical instrument from wear and fluctuations in the ambient humidity. Depending on the thickness, extent of penetration into the wood and the physical and mechanical properties after hardening, varnishes may change the mechanical and also vibro-acoustical properties of the coated wood. Contrary to studies on the chemistry of the varnish and primer used for old and contemporary musical instruments, the physical and mechanical properties of the varnished wood in relation to the geometry of their interface have been poorly studied. We implemented non-destructive test methods, i.e., vibration tests and X-ray tomography, to characterize the hardening-dependent change in the vibrational properties of master grade tone wood specimens after coating with four different varnishes. Two were manufactured in the laboratory, and two were supplied from master violin makers. For a controlled accelerated hardening of the varnish, a UV exposure method was used. It was demonstrated that varnishes increase wood damping, along and perpendicular to the grain directions. Varnishes reduce the sound radiation along the grain, but increase it in the perpendicular direction. Changes in the vibrational properties were discussed together with results of 3D images of wood and varnish microstructure, obtained from a customized tabletop X-ray microtomographic setup. For comparison, the microstructure of the interface of the varnished wood in the laboratory and of specimens from two old violins was analyzed with the same X-ray tomography setup. Laboratory varnishes with various compositions penetrated differently into the wood structure. One varnish of a master grade old violin had a higher density and was also thicker and penetrated weaker into the wood, which is more likely related to a more sophisticated primer and varnish application. The study demonstrates the importance of the vibromechanical properties of varnish, its chemical composition, thickness and penetration into wood.

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“…30 These advances have thrust X-ray fluorescence microscopy (XFM) at synchrotron light sources into a wide-range of scientific areas to map trace elemental content, including material sciences, 31 life sciences, 32 and cultural heritage studies. 33,34 Previous research has demonstrated the use of XFM imaging of sebaceous fingermarks to provide critical information on elemental distribution; however, the instrumentation available in that study did not have the sensitivity required to detect trace metals at micron spatial resolution. 26 In this work, we have used IRM in combination with XFM to characterize the location of organic and inorganic constituents in fingermark residue to better understand the chemical complexity of natural fingermarks and how it may impact methods of fingermark detection.…”

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confidence: 98%

Revealing the Elemental Distribution within Latent Fingermarks Using Synchrotron Sourced X-ray Fluorescence Microscopy

et al. 2019

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Fingermarks are an important form of crime-scene trace evidence; however, their usefulness may be hampered by a variation in response or a lack of robustness in detection methods. Understanding the chemical composition and distribution within fingermarks may help explain variation in latent fingermark detection with existing methods and identify new strategies to increase detection capabilities. The majority of research in the literature describes investigation of organic components of fingermark residue, leaving the elemental distribution less well understood. The relative scarcity of information regarding the elemental distribution within fingermarks is in part due to previous unavailability of direct, micron resolution elemental mapping techniques. This capability is now provided at third generation synchrotron light sources, where X-ray Fluorescence Microscopy (XFM) provides micron or sub-micron spatial resolution and direct detection with sub-μM detection limits. XFM has been applied in this study to reveal the distribution of inorganic components within fingermark residue, including endogenous trace metals (Fe, Cu, Zn), diffusible ions (Cl-, K+, Ca2+), and exogeneous metals (Ni, Ti, Bi). This study incorporated a multi-modal approach using XFM and Infrared Microspectroscopy (IRM) analyses to demonstrate co-localisation of endogenous metals within the hydrophilic organic components of fingermark residue. Additional experiments were then undertaken to investigate how sources of exogenous metals (e.g. coins and cosmetics) may be transferred to, and distributed within latent fingermarks. Lastly, this study reports a preliminary assessment of how environmental factors such as exposure to aqueous environments may effect elemental distribution within fingermarks. Taken together, the results of this study advance our current understanding of fingermark composition and its spatial distribution of chemical components, and may help explain detection variation observed during detection of fingermarks using standard forensic protocols. File list (3) download file view on ChemRxiv XFM_Mapping_Fingermarks_V1.pdf (4.82 MiB) download file view on ChemRxiv XFM_Mapping_Fingermarks_TOCentry.png (1.22 MiB) download file view on ChemRxiv XFM_Mapping_Fingermarks_SupportingInfo_V1.pdf (7.11 MiB)

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Mapping Henry: Synchrotron-sourced X-ray fluorescence mapping and ultra-high-definition scanning of an early Tudor portrait of Henry VIII

Cited by 19 publications

References 10 publications

Large‐Area Elemental Imaging Reveals Van Eyck's Original Paint Layers on the Ghent Altarpiece (1432), Rescoping Its Conservation Treatment

Large‐Area Elemental Imaging Reveals Van Eyck's Original Paint Layers on the Ghent Altarpiece (1432), Rescoping Its Conservation Treatment

Relationship of vibro-mechanical properties and microstructure of wood and varnish interface in string instruments

Revealing the Elemental Distribution within Latent Fingermarks Using Synchrotron Sourced X-ray Fluorescence Microscopy

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