Painted Wood Research Articles

Wood Painting Tradition of the Upper Vychegda Komi in the Late 19th – First Quarter of the 20th Century

Based on collections housed in the Russian Museum of Ethnography and the National Museum of the Komi Republic, as well as previously published materials and results of field studies from 1989–2013 in the Komi Republic, the article discusses the local ethnic traditions of peasant wood painting among the Upper Vychegda Komi Zyryans. These traditions were in practice at the turn of the 19th–20th centuries in the villages of Ust-Sysolsk and Yarensk Uezds of Vologda Guberniya (the modern Ust-Kulom and Kortkeros Regions of the Komi Republic). In particular, study addresses the decoration of the Upper Vychegda wooden distaffs and brakes. It is hypothesized that this decorative style originated from a blend of Finno-Ugric and Russian traditions in overlapping or adjoining regions of Russian, specifically Old- Believer, and Komi settlement. Painting technique, decoration, and coloring of artifacts from the area of Vychegda differ from those seen elsewhere in northern Russia or in the Kama region.

Chemical characterization of protein based binders in painting samples by means of ToF-SIMS: Tests on ancient and model samples

In the present work we investigated the possibility of identifying proteinaceous binders, typically used in “tempera” painting, by means of ToF-SIMS and PCA method. ToF-SIMS measurements were performed on cross-sections taken from a painted wooden crucifix of the 15th century. The results of the ToF-SIMS analysis are compared with those obtained by GC–MS. ToF-SIMS measurements were carried out also on model samples simulating the layered structure of real painting cross sections to elucidate how matrix effects can influence the identification of protein based binding media. A discrimination between rabbit glue and casein on the basis of the comparison of the ToF-SIMS results for the ancient samples with those obtained from reference compounds appears to be difficult. This is mainly due to matrix effects that are relevant for these complex, multicomponent samples, as indicated by the PCA results for model painting samples of known composition. On the other hand, PCA method and the observation of characteristic fragment ions in the spectra should allow to determine the presence of egg in painting layers.

Localization of proteins in paint cross-sections by scanning electrochemical microscopy as an alternative immunochemical detection technique

The qualitative identification of proteinaceous substances, as well as their location within a complex paint stratigraphy, is one of the most challenging issues in the characterization of painting materials. Nevertheless, information on paint components represent a crucial task for studies concerning both the ancient painting techniques adopted and the state of conservation, being fundamental investigations for the selection of appropriate conservation actions. The present research was aimed at developing a new detection approach for the immunochemical localization of ovalbumin in paint cross-sections based on the use of scanning electrochemical microscopy (SECM). The immunochemical analyses were performed using an anti-ovalbumin primary antibody and a secondary antibody labelled with horseradish peroxidase (HRP). SECM measurements were performed in feedback mode using benzoquinone (BQ)/hydroquinone (H2Q) redox couple. In presence of hydrogen peroxide (H2O2), HRP catalyzes the re-oxidation of H2Q to BQ and the increment of BQ concentration in correspondence of the target protein was detected by SECM through the electrochemical reduction of the regenerated BQ at the microelectrode. Indeed, the localization of ovalbumin was possible thanks to a clear discrimination of SECM currents, achieved by the comparison of the measurements recorded before and after H2O2 administration, based on the HRP on/off approach. The method was evaluated both on samples from standard mocks-up and on a historical sample, collected from a Renaissance wood painting. The obtained results were promising, foreseeing a wider application of SECM on cultural heritage researches.

Effects of Inhibit Woody Materials Photochromic Coated with Water-Based Paints

The inhibition effect of medium density fiberboard (MDF), particle board, dyed veneer and poplar veneer photochromic coated with water-borne wood paint and wax oil were studied by CIE(1976)L*a*b* color measurement system. The results showed that the specimen surface towards yellowing, lightness reduced, yellow-blue chromatic index rose and color saturation increased. Coating treatment has good inhibition effect on woodiness material photochromic mainly depends on it can significantly inhibit the yellow-blue index increase.

Raman Spectroscopy for the Study of XVI-XVII Centuries Colonial Paintings

ABSTRACTOutstanding information about the material composition and pictorial techniques of the New Spain Colonial painting can be obtained via a full characterization using a set of analytical techniques. Given the cultural importance of this painting, a non-invasive approach is preferred. Moreover, the preparation and use of reference materials using original recipes is necessary for a correct interpretation of the spectroscopic data from historical objects. Here, we present the results obtained via an in-situ Raman spectroscopic analysis of a set of pictorial reference materials, created according to XVI and XVII centuries’ recipes. Several difficulties were encountered, such as the low Raman detection signal, an intrinsic fluorescence of the material, and in some cases even laser-induced degradation. For this reason, the usual molecular Raman analysis was extended to Surface Enhanced Raman Spectroscopy (SERS), which enhances the Raman signal and quenches the fluorescence. It was then applied to the analysis of two wood paintings from the ex-convent San Francisco Tepeyanco, in Tlaxcala.

Identification of lacunae in a wood painting: comparative analysis of classification methods in GIS-based spatial analysis

Identification of lacunae in a wood painting: comparative analysis of classification methods in GIS-based spatial analysis

New elements to the history of the wooden panel paintings of the sacristy of the Oporto’s Cathedral.

New elements to the history of the wooden panel paintings of the sacristy of the Oporto’s Cathedral.

Characterization of Glue Sizing Layers in Portuguese Wood Paintings from the 15th and 16th Centuries by SEM Secondary Electron Images and μ-FTIR

According to treatises on 15th and 16th century paintings, artists dedicated particular attention to the sizing layer-consisting mainly of animal glue applied onto the wood support before further application of the ground layer. The stability of a painting mainly depends on the presence of a very cohesive sizing layer. However, the study of these layers has not received special attention from researchers. In this article we present a methodology for characterization of the sizing layer both chemically, by IR spectroscopy (Fourier transform infrared spectroscopy), and morphologically, by scanning electron microscopy (SEM). Secondary electron images obtained by SEM allow precise characterization of such layers. Painting reconstructions were used as references in development of the method to study the sizing layer in real painting samples. Presented herein are examples of this study on 15th and 16th century Portuguese paintings, particularly on the Triptych of S. Simão, from the Aveiro Museum, and S. Pedro, belonging to the Mercy of Tavira.

Wooden Bay Window (Rowshan) Conservation in Saudi-Hejazi Heritage Buildings

Abstract. A prominent feature of the architectural style of heritage buildings in western Saudi Arabia (Hijaz) cities such as Jeddah is the extensive use in their facades of projected intricately carved wooden bay window (Rowshan sl, Rawasheen pl). Throughout Balad or the old town in Jeddah, the element of Rowshan can be found made from many different types of woods such as teak, Javan, mahogany, other types of african and middle eastern woods and with different sizes, proportions, and varied intricate ornamentations and motifs. Besides its aesthetic value, the rawasheen and their many components and parts provide other functions such as ventilation, lighting, and spatial and visual privacy for building interiors from the outside. The profound degradation of Rawasheen is impacting the authenticity and heritage value of old buildings in historical Jeddah because of many factors that include: extensive moisture damage, using improper repair methods and joinery techniques to maintain rawasheen, using unsuitable cleaning products and wood paints, and replacing damaged parts with unkown types of wood. In order to prevent any further deterioration of Rawasheen, documentation of rawasheen and its components using recent digital methodologies and the utilization of proper repair techniques must be followed when working with these elements to ensure longevity of conservation, and preservation of value and authenticity.Through the disucssion of Rowshan repair methodology that was developed that include the digital documentation of all intricate details of rowshan panels and wood engraving which allowed replicating damaged elements beyond repair and applied to a listed building in old Jeddah, the paper provides Rowshan repair guidelines which relate to documentation, diagnostic methods, investigations and tests, repair methodology and reinforcement.

Electron Backscatter Diffraction in Conservation Science: Phase Identification of Pigments in Paint Layers

Electron backscatter diffraction (EBSD) was used in Conservation Science for characterization of ancient materials collected from works of art. The results demonstrate the feasibility of EBSD analysis on heterogeneous matrices as very small samples of paint layers collected from paintings. Two reference pigments were selected from those used by artists to investigate the relationship existing between EBSD pattern quality and properties of the investigated material (i.e., average atomic number, density, and Mohs hardness). The technique was also tested to investigate the pigment phases on two real samples collected from Romanino's Santa Giustina altarpiece, an oil on wood painting dated 1514 (Civic Museum, Padova, Italy). Results show for the first time the acquisition of EBSD patterns from painting samples mounted in resin, i.e., painting cross sections, opening a new powerful tool to elucidate the pigment phases avoiding large sampling on works of arts and to further study the complex mechanisms of pigment deterioration.

Mitigation of surface reflection in PIV measurements

Surface reflections of high-intensity laser light are a common concern when conducting particle image velocimetry (PIV) measurements. Consequences range from a poor signal-to-noise ratio (overexposure) in near-surface areas up to camera sensor damage. The severity depends on the interplay between three factors: surface properties, laser light intensity and relative camera position. In stereoscopic or tomographic PIV setups, material selection is often the only factor which can be adapted. We present a systematic comparative study, involving different materials and surface treatments. Their potential to mitigate surface reflections is quantified against the reference case of a flat black painted wooden surface. The largest reduction of surface reflection intensity is obtained by applying fluorescent paint on wood or by employing electropolished steel. The more widely used flat black painted wood shows poor behavior.

Ten Things I Love about You by Daniel Kirk (review)

Reviewed by: Ten Things I Love about You by Daniel Kirk Jeannette Hulick Kirk, Daniel. Ten Things I Love about You; illus. by Daniel Kirk. Paulsen/Penguin, 2012. [32p]. ISBN 978-0-399-25288-4$16.99 Reviewed from galleys Ad 4–6 yrs. Rabbit is making a list of ten things he loves about his best bud, Pig, beginning with “Number 1—I love Pig because he is very pink.” Rabbit continues to add to his list, pestering Pig at every turn to share another list item or ask for help, and it seems as though Pig may soon lose his temper with Rabbit’s incessant interruptions and his cheerful oblivion to Pig’s frustration. Pig, however, is actually working on his own list of things he loves about Rabbit, and their solid friendship ultimately trumps the simmer of Pig’s annoyance. Though the devoted Rabbit’s clueless annoying of his friend is deadpan funny, there’s not much substance here beyond the list-making, and Pig’s sudden climactic turn from irritated to grateful rings false. [End Page 300] Kirk’s digitally enhanced illustrations employ roughly edged painted plywood panels bordered by soft brown. Pink Pig in his turquoise shirt, brown pants, and tennies offers a note of bright color, as does the gray Rabbit’s bright red shirt. The two pals are slightly stiff in their poses, but they are nonetheless cartoonishly cute little guys, and the textured look of the painted wood panels has visual appeal. Better friendship books abound, but the list-making aspect of this one may inspire kids to take a keener look at the charms of their own buddies. Rabbit’s and Pig’s lists appear on the book’s closing pages and may provide a useful starting point for a classroom or family project of listing a friend’s or family member’s good points. Copyright © 2013 The Board of Trustees of the University of Illinois

Raman Analysis on 18th Century Painted Wooden Statues

A micro-Raman investigation on four wooden polychrome sculptures of Jan Geernaert (1704-1777), a Flemish sculptor who worked in Italy in the 18th century, is presented. The statues, representing the Holy Virgin Mary, with the infant Jesus in three of them, were created in the period 1750-1770 and are all made by poplar wood. The purpose of the micro-Raman investigations was to identify the original pigments used in 18th century, after later repainting interventions. In all statues, wood is covered by a groundwork, made by gypsum and animal glue. All pigments were identified, both in the original pictorial cover or in later repainted layers. Pigments were spread on a white lead layer (the so called imprimitura). Attention was particularly focused on the blue colours of the Holy Virgin mantle. In the external repainted layers, Prussian blue (Iron(II,III) hexacyanoferrate(II,III)) was found, together with ultramarine blue, a synthetic pigment, alternative to natural precious lapis lazuli, accessible on or after 1828. In one case, phthalocyanine blue is found, confirming a recent (later than 1930-35) restoration. The original skin colours are obtained by white lead and cinnabar (HgS), while the repainted layers are made by mixing chrome yellow (PbCrO4, synthesized in 1809), zinc yellow (ZnCrO4, 1809), red lead (Pb3O4), ultramarine blue, cinnabar, hematite (Fe2O3), goethite (-FeOOH), calcite (CaCO3) and white lead.

Surface mould and blue stain fungi on coated Norway spruce cladding

The study describes the development of surface mould and blue stain fungi on painted wooden claddings exposed to outdoor weathering. The materials consisted of Norway spruce (Picea abies) claddings that were processed from inner boards, outer boards, and edge-grained boards with known origin. Heartwood proportion, density, annual ring width, knot diameters and relative knot area were measured, and all boards were coated with the same water-borne alkyd modified acrylic paint system. Most of the tangentially sawn boards were coated on the side facing the pith, but a sub-sample was coated on the opposite side for comparison. The specimens were exposed with a 45° angle of inclination facing south in a field trial in Oslo from 2007 to 2011, and mould growth was evaluated visually according to EN 927-3. The development of mould rating was described with an ordinal logistic regression model. The model predicts expected mould rating to follow a sigmoid curve with some deviation in the first part. Neither wood properties nor manufacturing characteristics had any significant effect on the model, and this may in part be due to the use of a high performance coating system.

Single and multiplexed immunoassays for the chemiluminescent imaging detection of animal glues in historical paint cross-sections

The characterization of the organic components in a complex, multilayered paint structure is fundamental for studying painting techniques and for authentication and restoration purposes. Proteinaceous materials, such as animal glue, are of particular importance since they are widely used as binders, adhesives and for gilding. Even though proteins are usually detected by chromatographic and proteomic techniques, immunological methods represent an alternative powerful approach to protein analysis thanks to the high specificity of antigen-antibody reactions. Our previous studies demonstrated that ovalbumin and casein could be localized in paint cross-sections with high sensitivity and good spatial resolution (i.e. within the single painting layers) by using chemiluminescent (CL) immunochemical microscope imaging. In the present research work, we describe for the first time the immunolocalization of collagen (the main protein of animal glue) in paint cross-sections by CL imaging microscopy. Two different analytical protocols have been developed, allowing either the detection of collagen or the simultaneous detection of collagen and ovalbumin in the same paint sample. The assays were used to detect collagen and ovalbumin in cross-sections from model samples and historical paintings (a wall painting dated to 1773-1774 and a painted wood panel of the Renaissance period) in order to achieve information on paint techniques and past restoration interventions.

Chemical Composition of Wood Chips and Wood Pellets

The chemical composition of 23 wood chip samples and 132 wood pellet samples manufactured in the United States and Canada were analyzed for their energy and chemical properties and compared to German standards for pellet quality. The pellet samples obtained from various locations across northern New York and New England included 100 different manufacturers and duplicate samples of some brands. The calorific value, moisture content, and ash content of the samples were determined according to the American Society for Testing and Materials (ASTM) methods. Sulfate and chloride samples were prepared using ASTM methods and analyzed by ion chromatography (IC). The elemental compositions of the ashed wood samples were determined using inductively coupled plasma mass spectrometry (ICP–MS). Mercury was measured by direct analysis of wood samples. The distributions of the sample characteristics, such as heating value, ash content, moisture content, ions, and heavy elements, are presented. Major ash-forming elements were Ca, K, Al, Mg, and Fe. Although heavy elements are found naturally in wood and bark, some pellet samples had unusually high concentrations of heavy elements. This contamination was likely because of inclusion of extraneous materials, such as scrap or painted wood, bark or leaves, and other possible contaminants, during pellet manufacturing processes. Most of the commercially available wood pellets of this study would meet German and European industrial standards. However, standards for elemental compositions of commercial wood pellets and chips need to be established in the United States to exclude extraneous materials. The promulgation of such standards would reduce environmental problems related to air emissions and ash used as fertilizers for agriculture soils, where there are limits on the allowable concentrations for many elements.

On Witold Masznicz’s Spadająca Gwiazda (Falling Star)

in the mid-1990s, i took a folk art class with Henry Glassie. Glassie asked his students to select one work of art from a given culture and explain how that artwork offers an entree into that culture. Glassie gave us free rein; we could select an item of folk, elite, or popular art.I chose an artwork from Poland. As a child of immigrants, I had grown up with Eastern European folk art. I'd traveled to Eastern Europe several times, to study, as a tourist, and to live with family. I had lived in Poland for the eventful year of 1988-89, while studying Polish language and culture at Krakow's Jagiellonian University. I would travel to Poland again, to attend a scholarly conference, during my time as a graduate student at Indiana University.When considering which work of art to use as an entree into Polish culture, I confronted an embarrassment of riches. I could have chosen a Goral's, or highlander's, embroidered felt pants; a wycinanka or brilliant paper cutting from Lowicz; one of the szopki or miniature castles and cathedrals handcrafted from metallic papers and displayed at Christmastime in Krakow.1 I could have chosen Jan Matejko's painting of Jan Sobieski after his 1683 victory against the Turks at Vienna-an event that Middle East scholar Bernard Lewis, post-9/11, identified as pivotal in Islam's relationship to the rest of the world. I could have chosen one of the films that won Andrzej Wajda an honorary Academy Award.I could have attempted science and chosen an item from Poland's geographic center or from the Golden Age of folk art, by some estimates, the late nineteenth century, or one representing an art form common to Poland's varied populations, including peasants and nobility, Jews and Gypsies, and other regional or minority groups. I could have abandoned all hope of science, closed my eyes, spun the wheel, and pointed. There was the option to obey instinct, and to attempt to explain the powerful pull of the unarticulated.During a yearlong visit in 1989, I was hiking through northern Poland. I stopped at Frombork, to pay respects to one of those Poles we Poles and Polish Americans who engage in the unending struggle for dignity always cite: Copernicus. There I stepped into a small gallery. On the stone wall hung an artwork. I found myself star- ing at this artwork for a long time. Later, in the museum gift shop, I bought a postcard reproduction. The artwork was Spadajaca Gwiazda (Falling Star) by Witold Masznicz (fig. 1). It was mixed media. An oil painting served as background; an unpainted wooden human figure occupied the foreground. From the few publications I have since found, I have learned that Masznicz has displayed his works in various cities in Poland and the United States, and that he has been influenced by medieval art. Falling Star was created in 1982, the year of Martial Law and the crushing of Solidarity. In 1884, another Polish artist, Witold Pruszkowski, also painted a piece entitled Spadajaca Gwiazda. Pruszkowski's oil painting has a dramatic, science-fiction look, very unlike Masznicz's. I don't know if Masznicz's artwork is a response to Pruszkowski's.Since that hike in 1989, I've had twenty or thirty mailing addresses. I've long since given away as gifts all the paper cutouts and carved wooden boxes I brought back with me from that trip to Poland. I have kept my flimsy little postcard reproduction of Masznicz's painting with me, though. Why? Searching in my mind for reasons for being so compelled by it, for keeping it for so long, I came to articulate why I had, intuitively, selected it as entree into Polish art and culture.The work is roughly rectangular, 23.5-by-20-by-9 centimeters, short sides top and bottom. The bottom is squared off, while the top rises to a curved arch, as in an altar triptych. The background is wood, painted midnight blue, with four white stars. A fiery yellow streak proceeds halfway down this sky. In the foreground lies an un- painted human-like wooden figure. …

Future climate-induced pressures on painted wood

Abstract A broad category of cultural heritage objects are multilayer structures composed of organic, humidity-sensitive materials – wood, animal glue, paper, leather, bone or paints. They respond to variations in relative humidity (RH) in their environment by cyclically gaining and losing moisture, and consequently swelling and shrinking. Differences in the moisture response of the materials induce internal stresses in the individual layers of the structures, which cause objects to deform and crack. Polychrome wood is examined in detail. The cumulative physical damage of the design layer on wood due to repeated RH variations is quantified in terms of their magnitude and number of times they occur. The climatological risk index for accumulated, ‘fatigue’ damage is established, using a procedure to reduce irregular real-world climate histories into simple RH cycles of known damage impact. Using output from the Hadley Model (HadCM3) and simple transfer functions predicting indoor temperature and RH from outdoor climate, changes in the indoor climate through to 2100 were forecast for unheated buildings. European maps highlighting the areas in which painted wood may be significantly affected by climate change are presented.

Digital speckle pattern interferometry for the condition surveys of painted wood: Monitoring the altarpiece in the church in Hedalen, Norway

Abstract Digital Speckle Pattern Interferometry (DSPI) and Speckle Decorrelation (DIC) were used in condition surveys of a wooden altarpiece in the church of Hedalen, Norway. Two surveys were conducted, one before and one after the heating season in the church to trace the possible development of damage in the paint layer caused by relative humidity variations induced by the heating system. The measurements demonstrated that the speckle techniques can contribute to detecting irregular areas on the paint surface and in the paint structure. They proved particularly effective in tracing paint detachments at an incipient stage which cannot be easily detected by an unaided eye or manual inspection. The results of the speckle techniques may thus guide a traditional conservation survey, or the use of further microscopic or analytical survey techniques. The speckle techniques could be routinely used by conservators who are not scientists if simple, portable instruments were available on the market.

AN ANALYTICAL STUDY: IDENTIFICATION AND BIODEGRADATION CHARACTERISTICS OF ANCIENT EGYPTIAN WOODEN PAINTED GRAIN STORE, EGYPTIAN MUSEUM, CAIRO, EGYPT - PART-I

Current study comprises two parts, Part-I, the subject of this paper, contains analytical studyof ancient Egyptian painted grain stores using some scientific techniques, The followingresearch (Part –II) deals with the restoration and conservation of the same object. In thispaper, ancient Egyptian painted grain stores have been studied, using (Light Microscope -SEM - EDX- X-ray – FTIR - chemical analysis of cellulose, and biological study) in order todetermine their mineralogical and chemical composition and evaluate how these pigmentswere affected by air pollution .Gypsum was detected in the examined plaster and pigmentssamples which indicates the effect of sulfur as a pollutant on the deterioration of the paintedwooden model, The detection of halite in all the studied samples indicates the effect of badstoring . Light microscope was used to identify the type of wood and infection. SEM indicatesthe effect of fungi and bacteria on the painted wooden grain store, in addition to weakness,cracks, and losing pigments in many parts.