Arianna Passaretti, Luana Cuvillier, Claude‐Alain Künzi, Laura Brambilla, Edith Joseph
{"title":"Multi‐analytical characterisation of Art Déco dinanderie: Single‐point and map analysis of Jean Dunand's metal artworks","authors":"Arianna Passaretti, Luana Cuvillier, Claude‐Alain Künzi, Laura Brambilla, Edith Joseph","doi":"10.1002/jrs.6712","DOIUrl":null,"url":null,"abstract":"Jean Dunand (1877–1942) was a European artist internationally appreciated at his time for his innovative Art Déco housewares made of hammer‐beaten copper‐based alloys, known as <jats:italic>dinanderie</jats:italic>. Still uncertain was the nature of the constituting materials; therefore, for the first time, three objects, namely, a bowl, a trinket bowl and a vase, were the target of a multi‐modal work of characterisation. Mobile or benchtop X‐ray fluorescence, Fourier‐transform infrared (FTIR) and Raman spectroscopies were used to adapt the analyses to the shape and size of the artefacts. Elemental analysis verified that the vase consisted of brass Cu<jats:sub>70</jats:sub>Zn<jats:sub>30</jats:sub>, whereas the bowl and the trinket bowl were made of nickel silver Cu<jats:sub>70</jats:sub>Zn<jats:sub>19</jats:sub>Ni<jats:sub>11</jats:sub>. The black finishing present on all the artefacts was related to tenorite by Raman spectroscopy, ascribing the patina to an intentional artist's willing and not to spontaneous tarnishing processes. Metal soaps of copper and zinc were documented as degradation products by FTIR spectroscopy. The drawings adorning the vase and the trinket bowl were identified as silver‐based, contrary to what was hypothesised by conservators (i.e., tin‐based) due to conventional Dunand's inlaying technique. Besides single‐point analysis, Raman mapping was performed in‐situ, applying for the first time a Virsa™ Raman Analyser (Renishaw) in the field of cultural heritage. The fibre‐optic‐coupled instrument allowed to comply constantly with the artefacts' geometry thanks to the modular probe and the motorised focus‐tracking stand. The synergic combination of elemental and vibrational analyses resulted successful, providing new and unique information on artist's technique in view of possible restoration interventions.","PeriodicalId":16926,"journal":{"name":"Journal of Raman Spectroscopy","volume":null,"pages":null},"PeriodicalIF":2.4000,"publicationDate":"2024-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Raman Spectroscopy","FirstCategoryId":"92","ListUrlMain":"https://doi.org/10.1002/jrs.6712","RegionNum":3,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"SPECTROSCOPY","Score":null,"Total":0}
引用次数: 0
Abstract
Jean Dunand (1877–1942) was a European artist internationally appreciated at his time for his innovative Art Déco housewares made of hammer‐beaten copper‐based alloys, known as dinanderie. Still uncertain was the nature of the constituting materials; therefore, for the first time, three objects, namely, a bowl, a trinket bowl and a vase, were the target of a multi‐modal work of characterisation. Mobile or benchtop X‐ray fluorescence, Fourier‐transform infrared (FTIR) and Raman spectroscopies were used to adapt the analyses to the shape and size of the artefacts. Elemental analysis verified that the vase consisted of brass Cu70Zn30, whereas the bowl and the trinket bowl were made of nickel silver Cu70Zn19Ni11. The black finishing present on all the artefacts was related to tenorite by Raman spectroscopy, ascribing the patina to an intentional artist's willing and not to spontaneous tarnishing processes. Metal soaps of copper and zinc were documented as degradation products by FTIR spectroscopy. The drawings adorning the vase and the trinket bowl were identified as silver‐based, contrary to what was hypothesised by conservators (i.e., tin‐based) due to conventional Dunand's inlaying technique. Besides single‐point analysis, Raman mapping was performed in‐situ, applying for the first time a Virsa™ Raman Analyser (Renishaw) in the field of cultural heritage. The fibre‐optic‐coupled instrument allowed to comply constantly with the artefacts' geometry thanks to the modular probe and the motorised focus‐tracking stand. The synergic combination of elemental and vibrational analyses resulted successful, providing new and unique information on artist's technique in view of possible restoration interventions.
期刊介绍:
The Journal of Raman Spectroscopy is an international journal dedicated to the publication of original research at the cutting edge of all areas of science and technology related to Raman spectroscopy. The journal seeks to be the central forum for documenting the evolution of the broadly-defined field of Raman spectroscopy that includes an increasing number of rapidly developing techniques and an ever-widening array of interdisciplinary applications.
Such topics include time-resolved, coherent and non-linear Raman spectroscopies, nanostructure-based surface-enhanced and tip-enhanced Raman spectroscopies of molecules, resonance Raman to investigate the structure-function relationships and dynamics of biological molecules, linear and nonlinear Raman imaging and microscopy, biomedical applications of Raman, theoretical formalism and advances in quantum computational methodology of all forms of Raman scattering, Raman spectroscopy in archaeology and art, advances in remote Raman sensing and industrial applications, and Raman optical activity of all classes of chiral molecules.