Tryptic peptide analysis of protein binders in works of art by liquid chromatography–tandem mass spectrometry

Comprehension of the materials, such as binding media, used by artists is of uttermost importance in restoration and in art historical studies. The most frequently used binders are drying oils and proteins; in this study focus is placed on proteins. Most actual methods for protein binder identification are based on complete hydrolyzation of the protein matter into its amino acids and separation/detection with gas chromatography – mass spectrometry (GC-MS) or high performance liquid chromatography (HPLC) after derivatization. Because amino acids itself are not characteristic for a protein, identification is often based on the relative amount of 7 stable amino acids. In the current study a proteomics approach was used, in which the proteins were digested enzymatically into peptides using trypsin before being separated and detected by liquid chromatography – electronspray ionisation tandem mass spectrometry (LC-ESI-MS/MS). Mascot (Matrix Science) was used to analyze the resulting data and for protein identification. This way, amino acid sequences could be studied that retain much more information about the proteins, their degradation and pigment-binder interactions. The protein content of homemade paint samples was extracted using different methods and analysed to select the best extraction strategy based on the number of peptides that were identified. A large dataset of 4 binders (animal glue, egg yolk, egg white and casein), mixed with 10 common pigments with different chemical properties was used to study the influence of pigments on the extraction method. Analytical characteristics of the selected method were determined. Finally the method was applied to historic paint samples. The results were compared with those obtained by traditional amino acid analysis methods

The Coloured Drawing of the Dulle Griet in the Kunstpalast, Düsseldorf : New Findings on its Status and Dating

editorial reviewedThe Düsseldorf coloured drawing of the Dulle Griet was examined at the Royal Institute for Cultural Heritage (KIK-IRPA) in Brussels in collaboration with the Kunstpalast, Düsseldorf, using infrared reflectography, infrared photography, transmitted light photography, macro-XRF and micro-Raman spectroscopy. The study of the paper revealed the watermark of Niklaus Heusler, a Basel paper manufacturer, giving 1578 as the earliest possible execution date for the drawing, and thus confirming its status as a copy. Examination and analysis of the colours suggest that they are most likely original. Various hypotheses are proposed as to the drawing’s original function, attribution and context, taking into account the early history of Bruegel’s Dulle Griet. Thanks to its early dating, the drawing is a key witness to the appearance of the Dulle Griet painting at an early stage in its history, and as such it provided fundamental help during the conservation campaign. Certain colours and motifs that have altered over time in the painting remain more legible in the drawing

Micro-X-Ray Fluorescence and the Old Masters: Non-destructive in situ characterisation of the varnish of historical Low Countries stringed musical instruments

In recent years, a growing attention has been addressed to the study of the varnish from early musical instruments. The surfaces of nine historical Low Countries stringed musical instruments from the collection of the "Musical Instruments Museum” in Brussels were non-destructively analysed by in situ micro-X-Ray Fluorescence spectroscopy in dispersive mode. It was found that the main pigments dispersed in the varnish were iron- and manganese-based earths. The presence of a chromium-based pigment in one of the analysed instruments makes it appreciably different from the others. Other findings were discussed and compared with previously published results. The collection of such information plays a relevant role in the recovery of the applied formulations that is an interesting issue for conservators, luthiers and art historian

M & L Jaargang 25/5

Frederik Mahieu De restauratie van de Warandekapel in Heule/Kortrijk. [The restoration of the Warandechapel in Heule (Kortrijk).]De restauratie van de Onze-Lieve-Vrouw ter Warande-kapel in Heule werd onlangs afgerond. Deze gaaf bewaarde, als monument beschermde kapel is tot de dag van vandaag het voorwerp van een levendige Mariadevotie. Frederik Mathieu licht de herstelproblematiek toe van het uit restauratietechnisch oogpunt bekeken, interessant gebouwtje met de typische beraapte voorgevel. Bij de werkzaamheden ging ook aandacht uit naar de omgeving van het kapelletje. De auteur drukt dan ook de wens uit dat het bedehuis weer snel de rustige plek wordt het haar zo kenmerkende door volksdevotie bepaalde sfeer.Carl Van de Velde De adviescommissie Poussin van de Koninklijke Commissie voor Monumenten en Landschappen.De herontdekking van een verloren gewaand schilderij van de Franse grootmeester was belangrijk genoeg om de restauratiewerken te laten omkaderen door een internationale adviescommissie. Voorzitter Carl van de Velde stelt de groep van wijzen voor en licht hun werkwijze toe.Greta Paesmans en Anna Bergmans De Sint-Pancratiuskerk van Sterrebeek (1829).Een plattelandskerk uit de tijd van het Hollands Bewind (1829), met incorporatie van de oude Romaanse toren. Greta Pasmans en Anna Bergmans situeren de bouw en de inrichting van deze op het eerste gezicht onopvallende kerk.Pierre-Yves Kairis Een uitzonderlijk schilderij! [The Death of the Holy Virgin by Nicolas Poussin, an exceptional painting.]De Fransman Nicolas Poussin bouwde vrijwel zijn hele schilderscarrière uit in Italië. Van de periode voorafgaand aan zijn vertrek naar Rome (1623) citeert zijn biograaf één enkel schilderij: de Dood van de H. Maagd voor de Notre-Dame van Parijs. Dit in meer dan één opzicht uitzonderlijke werk was echter lange tijd onvindbaar tot het herontdekt werd in Sterrebeek. Pierre-Yves Kairis ontrafelt de geschiedenis en de karakteristieken van dit opmerkelijke doek.Marie Postec De restauratie. [The restoration of the Death of the holy Virgin by Poussin.]De onverhoopte herontdekking van een vermist jeugdwerk van Poussin vormde de aanleiding van een langdurig vooronderzoek van het schilderij, gevolgd door de eigenlijke restauratie: een werk van lange adem. Overschilderingen hadden het doek veranderd in een somber en grof uitgevoerd werk. De Franse schilder staat nochtans bekend voor zijn heldere en harmonieuze doeken. Marie Postec verheldert op een overzichtelijke wijze de behandelingsopties die uiteindelijk de voorkeur genoten.Steven Saverwyns en Jana Sanyova De schildertechniek van de Dood van de Maagd van Nicolas Poussin. [The painting technique of the Death of the Holy Virgin by Nicolas Poussin.]De studie van de picturale techniek van een kunstschilder vormt een belangrijke informatiebron (voor gespecialiseerde kunsthistorici). Via monstername, vaak niet groter dan een speldenkop, kunnen specialisten de schildertechniek van de kunstenaar doorgronden.Zorgvuldige analyses van de preparatielaag, van de picturale laag en van de bindmiddelen lieten Steven Saverwyns en Jana Sanyova toe de schildertechniek van de Dood van de H. Maagd tot in detail te reconstrueren.Summar

The analysis of European lacquer : optimization of thermochemolysis temperature of natural resins

In order to optimize chromatographic analysis of European lacquer, thermochemolysis temperature was evaluated for the analysis of natural resins. Five main ingredients of lacquer were studied: sandarac, mastic, colophony, Manila copal and Congo copal. For each, five temperature programs were tested: four fixed temperatures (350, 480, 550, 650 degrees C) and one ultrafast thermal desorption (UFD), in which the temperature rises from 350 to 660 degrees C in 1 min. In total, the integrated signals of 27 molecules, partially characterizing the five resins, were monitored to compare the different methods. A compromise between detection of compounds released at low temperatures and compounds formed at high temperatures was searched. 650 degrees C is too high for both groups, 350 degrees C is best for the first, and 550 degrees C for the second. Fixed temperatures of 480 degrees C or UFD proved to be a consensus in order to detect most marker molecules. UFD was slightly better for the molecules released at low temperatures, while 480 degrees C showed best compounds formed at high temperatures

Le Massacre des Innocents de Pierre Brueghel le Jeune de la collection Brukenthal (Bucarest) : Une copie qui fait honneur à son modèle

peer reviewedThe relationship between Pieter Brueghel the Younger’s Massacre of the Innocents in Sibiu and Pieter Bruegel the Elder’s original version in Hampton Court is examined as part of a technical study of the copy’s techniques and materials. The authenticity of its atypical signature is affirmed. The oak panel with its maker’s mark, black chalk underdrawing, preparatory layers, use of the blue pigment smalt and aspects of painterly handling are discussed in relation to other works examined by the same artist. The likely copying process is also considered

A Copy That Does Justice to its Model: the Massacre of the Innocents by Pieter Brueghel the Younger (Sibiu, Muzeul Naţional Brukenthal)

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