Non-invasive dendrochronology of late-medieval objects in Oslo: refinement of a technique and discoveries

Daly, Aoife; Streeton, Noëlle L. W.

doi:10.1007/s00339-017-1019-x

Cited by 23 publications

(13 citation statements)

References 6 publications

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“…Such disparity on the dates obtained in both occasions can be the result of faulty measurements due to the difficulty of measuring in the radial section of the panel. Although tree-ring research in the radial section of oak has been proven possible in exceptional cases [24,32] it is a challenging endeavour in this case. The close proximity of the earlywood vessels of narrow rings hinders the discrimination of individual tree rings in some portions of the back of the panel, reducing the chances of obtaining a reliable tree-ring series.…”

Section: Plos Onementioning

confidence: 99%

“…State-of-the-art X-ray CT scanning has seldom been used on panel paintings for dendrochronological research. Two studies report on the potential of this technology to assess the manufacturing technique and preservation state of panel paintings [26,63], whereas only [24] presents a successful dendrochronological study of two panel-doors from a shrine in Norway. In our study, the X-ray CT image was key to discover the two different boards and to allow the correct dating of the oak one.…”

Section: Non-invasive Research Of Panel Paintings Through X-ray Ct Imagesmentioning

confidence: 99%

“…This study was followed by a real breakthrough when [20] succeeded to date a collection of archaeological objects from the Viking era using dendrochronology on X-ray CT images. Since then, a few studies have demonstrated the successful implementation of dendrochronology based on CT imaging to date cultural heritage objects such as archaeological artefacts [22], Japanese Shinto sculptures [23], Norwegian late medieval sculptures and shrine-door panels [24], and a Netherlandish sculpture [25]. The results of those studies demonstrate the suitability of the method to visualize tree-ring patterns in archaeological wood with different degrees of preservation, and in historical polychromed wood from both broadleaf (Quercus robur/petraea) and conifer (Chamaecyparis obtusa) species.…”

Section: Introductionmentioning

confidence: 99%

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X-ray computed tomography for non-invasive dendrochronology reveals a concealed double panelling on a painting from Rubens’ studio

et al. 2021

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Dating the wood from historical art objects is a crucial step to ascertain their production time, and support or refute attribution to an artist or a workshop. Dendrochronology is commonly used for this purpose but requires access to the tree-ring pattern in the wood, which can be hindered by preparatory layers, polychromy, wax, or integrated frames. Here we implemented non-invasive dendrochronology based on X-ray computed tomography (CT) to examine a painting on panel attributed to Rubens’ studio and its presumed dating around 1636 CE. The CT images achieved a resolution of 37.3 micron and revealed a double panelling, which was concealed by oak strips covering all four edges. The back (visible) board is made of deciduous oak (Quercus subg. Quercus), the most common type of wood used in 17th-century Netherlandish workshops, and was dated terminus post quem after 1557 CE. However, the front (original) board used for the painting has been identified through examination of the wood anatomy as a tropical wood, probably Swietenia sp., a species seldom used in Netherlandish paintings, and remains undated. Its very presence attests the global character of 17th-century trade, and demonstrates the use of exotic species in Flemish studios. The date of the oak board refutes previous results and suggests that this board was trimmed to meet the size of the tropical one, having been glued to it for conservation purposes or with deceiving intentions to pretend that the painting was made on an oak panel. These revelations have opened new lines of art historical inquiry and highlight the potential of X-ray CT as a powerful tool for non-invasive study of historical art objects to retrieve their full history.

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Section: Plos Onementioning

confidence: 99%

Section: Non-invasive Research Of Panel Paintings Through X-ray Ct Imagesmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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X-ray computed tomography for non-invasive dendrochronology reveals a concealed double panelling on a painting from Rubens’ studio

et al. 2021

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“…Non-invasive analysis is also possible in certain circumstances. Dried-out timber (and probably certain conserved wood with a very low moisture content) can be analysed using micro-focus CT scanning but, currently, there are limits to this technique regarding the size of the object that can be scanned in this way (Bill et al, 2012;Van den Bulcke et al, 2014;Daly and Streeton, 2017).…”

Section: Before or After Conservation Treatmentmentioning

confidence: 99%

Selecting and Sampling Shipwreck Timbers for Dendrochronological Research: practical guidance

Domínguez‐Delmás¹,

Rich

Daly

et al. 2018

International Journal of Nautical Archaeology

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In this article, we provide practical and straightforward guidance for the selection and sampling of shipwreck timbers for dendrochronological research. We outline sampling strategies and present informative figures that illustrate how to proceed in a variety of scenarios that archaeologists regularly encounter. However, in order to fully exploit the potential of tree‐ring research on these objects, we would urge archaeologists to involve dendrochronologists during the project planning phase to carefully plan and conduct adequate sampling of shipwreck assemblages.

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“…The ABD research project was conceived as an interdisciplinary project to reassess and contextualise late-medieval art in Norway (Streeton 2013). As part of this, publications have included an assessment of the reasons behind touching and mutilation of sculptures (Streeton 2017a) as well as an outline of the technique employed for non-invasive dendrochronology (Daly and Streeton 2017), and a review of Lübeck attribution of Hanseatic art in Norway (Streeton 2018).…”

Section: Late-medieval Polychrome Sculpture In Norwaymentioning

confidence: 99%

Biographies carved in wood: Turning points in the lives of two medieval Virgin sculptures

Ebert

2018

Journal of Material Culture

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Conservation and History (IAKH) for generously providing me with funding to undertake further research trips. I would also like to acknowledge the Kaia and Torfinn Tobiassens Fond for covering the cost of an additional research trip to Germany. Countless people have supported and guided me throughout the PhD period. I would like to thank my amazing supervisors Lotte Hedeager and Michael Rief for guidance, advice and support during the second half of my stipend period. I am grateful to the Museum of Cultural History at the University of Oslo for granting access to the sculptures, and particularly to Torunn Klokkernes and Anne Lene Melheim for granting approval for analysis. Many thanks to conservators Eivind Bratlie and Kaja Kollandsrud for their trust, allowing me to use their conservation atelier, giving me a helping hand when handling the sculptures, and generously sharing their knowledge about the museum collection with me. I am thankful to the Getty Conservation Institute for hosting me during my research stay in Los Angeles, and for the warm welcome offered to me by Tom Learner, Michael Schilling and Gary Mattison. In particular, I would like to thank Joy Mazurek for generously sharing her time, knowledge and expertise in GC-MS, and Herant Khanjian for his support with FTIR. Special thanks are due to my fellow PhD colleague Kristin Kausland, whose strength, knowledge and friendship helped me significantly during difficult times. I would like to thank Per Ditlef Fredriksen as Head of Research for keeping an open door for me and providing me with advice and a listening ear. I am grateful to Duncan Slarke for friendship and technical support, as well as for being my anchor of sanity within Conservation Studies. Our amazing librarian Lisa Benson deserves mention for having gone out of her way in helping me get hold of literature. I would like to thank Unn Plahter for useful constructive criticism during my midway evaluation. I am grateful to Calin Steindal at the Saving Oseberg project for extensive technical support with SEM-EDS. I would also like to thank Aoife Daly for undertaking dendrochronology, and Bjørnar Slensvik and Heidi Debreczeny Wilkinson at the Norwegian Geotechnical Institute for use of the CT scanner. Thanks are also due to Steinar Kristensen for advice on photogrammetry, Jan Brendalsmo for sharing his knowledge about Norwegian church history, and Rebecca Cannell for advice with map-making. The following individuals have generously shared their knowledge and expertise

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Non-invasive dendrochronology of late-medieval objects in Oslo: refinement of a technique and discoveries

Cited by 23 publications

References 6 publications

X-ray computed tomography for non-invasive dendrochronology reveals a concealed double panelling on a painting from Rubens’ studio

X-ray computed tomography for non-invasive dendrochronology reveals a concealed double panelling on a painting from Rubens’ studio

Selecting and Sampling Shipwreck Timbers for Dendrochronological Research: practical guidance

Biographies carved in wood: Turning points in the lives of two medieval Virgin sculptures

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