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www.PaintingsAuthenticity.com last update: 06/08/2013
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Determining the
authenticity of
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A work of art
is
material
There are different approaches
for determining the
authenticity of antique paintings: |
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"Portrait of a Lady" |
A recent copy of |
A
recent copy of |
"Giuditta I " 1901 - Gustav Klimt |
Analyses of paintings on a
scientific basis
with methods and instruments of our laboratory
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Portrait "Anna Selbtritt", 1750 |
Thanks to the laboratory's modern equipment, a painting can be subjected to
analysis using infrared reflectography, Wood's light, a
stereoscopic microscope, IR spectroscopy and other instrumental
techniques.
3 e 4 - Microscopic analysis |
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analysis of pigments |
examination of craquelure |
6 - Wood's light and monochromatic lights permit an evaluation of the extent to which the painting has been restored, touched up and overpainted, as well as the identification of various fluorescent substances. |
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restoration work shown up |
stucco work identified |
7, 8 e 9 - Infrared reflectography permits an in-depth examination of the painting bringing to light underdrawings or grids, pentimenti, the depth of the craquelure, and identification of restoration work or the use of different materials. |
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depth of craquelure |
underlying grid |
IR spectroscopic analysis permits the analysis of various materials to ascertain their compatibility with the presumed historic period: pigments, binders, glues and varnishes. Minimal sample quantities needed. |
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sample to be analysed enclosed in a KBr pellet |
insertion of sample in the spectrophotometer |
1 e 2 - IR
spectroscopic
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spectroscopic analysis unit |
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dating spectrum |
5 -
Evaluation of the |
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analysis with duroflexometer |
measurement of surface elasticity |
The laboratory also digitalizes images obtained by the various techniques,
carries out examinations under reflected and raking light, and performs microchemical analyses.
Certificates are issued with a clear and exhaustive report on the results of
the analyses.
Example of certificate
made by the scientific laboratory of the Museum |
The Scientific Laboratory of
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Results of the
scientific tests performed on
the painting |
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The above tests allowed to state the compatibility of the material, signs of ageing and techniques with the period of the painters activity.
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Any attempt to determine the authenticity of a painting must begin
with tests and analyses to establish whether the age of the painting
and the
materials and techniques used are compatible with the presumed date
of execution. |
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The objective elements attesting to the authenticity of a work are
to be found in a scientific laboratory! |
Tests carried out by the laboratory:
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Spectroscopic dating and characterization of wooden objects |
Microscopic tests on paintings |
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Examination of underlying layers using infrared reflectography |
Analyses of paint layers with a duroflexometer |
Analyses with Woods light, UV and IR |
FURTHER ANALYSES PERFORMED IN THE LABORATORY:
Spectroscopic chemical analyses
on pigments, glues, encrustations, patinas,
products of corrosion.
Scientific, practical and instrumental tests of authenticity on:
ivory, amber, archaeological glass,
pigments, metals, stones, carpets, tapestry, prints, books, clocks and
watches, china.
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The value of art expert opinions in the scientific age |
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This way of examining a painting has remained the same to the present day, but the attention is now focused almost exclusively on the painters signature. The fact that today, as in the future, it is often impossible to attribute a work to an author with certainty, induces the thought that current art appraisal methods are all to the advantage of the market. Whilst this type of ascertainment is to the dealers advantage, for buyers it could mean the almost total loss of their investment if one day this overemphasis on the signature were considered illogical and mistaken and a more traditional way of attributing art returned to favour. Today it is already possible to reduce this risk thanks to the dating and scientific analyses of the various component materials of the painting and its support. Any incompatibility between the measured ages and information on the presumed author reveals to the owner, before he seeks an expert opinion, that he has acquired one of the myriad recent copies in circulation. Scientific methods used for determining the age of antique paintings are now applicable for works dating up to around 1920.
Get further and detailed information
from our web site: |
Icons are a telling example of how stylistic considerations alone are not sufficient to establish the date of a painting. Even though from an art historical standpoint there are clearly distinguishable painting styles, succeeding generations continued to reproduce the best-known and loved styles and themes. Only the dating of the wood, therefore, can permit certain and unequivocal classification.
(Selection of icons from the
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age of wood: 310 years |
age of wood: 240 years |
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age of wood: 200 years |
age of wood: 160 years |
age of wood: 100 years |
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age of wood: 85 years |
age of wood: 35 years |
recent fake |
Similar considerations can be applied to paintings of a religious content.
WHAT IS MORE,
in the Museum rooms there are 9 interactive
test stations at
the disposal of visitors for simple tests for ascertaining the authenticity of
antiques.
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Test station room 7: |
Test station room 8: |
Test station room 9: test for revealing the use of plastic |
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Test station room 9: identification of authentic icons with Woods light |
Test station room 9: examination with a magnifying glass of signs of wear and decorations on china |
The microscope distinguishes authentic patinas and encrustations from faked ones |
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Optical examination of signs of wear to identify an authentic piece of silverware |
Shadows reveal the industrial or handcrafted manufacture of glass |
The dull sound of a porcelain item reveals hidden restoration work |
Example of the complete certificate |
The Scientific Laboratory of
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The painting has been studied with microscopic, IR reflectrographic, Woods light and FT-IR spectroscopic analyses, to verify its compatibility with the presumed period. |
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Painting
on canvas (49 x 60cm) |
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Photo 2 |
Photo 3 - |
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Having thus
ascertained that at least the two side strips of the stretcher
are unquestionably original and coeval with this painting, we
proceeded to date them scientifically. The spectroscopic
analysis of the wood gave the following results: |
Wood type = conifer |
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Age of the
wood = 115 +/- 10 years |
Analysis of the Painting layer |
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Many areas of the painting evidence a deep,
extensive craquelure. The development of the same is also logical:
it varies according to the different colours and in particular is
more marked in the light-coloured areas which, containing less
binder, are also less elastic and the first to develop cracks (macro
photos no.5
and no.6). |
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Photo 5 - deeper craquelure in the light-coloured areas |
Photo 6 - craquelure variation according to the different colours |
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The microscopic
examination of the signature (macro photos no.7, and no.8)
evidenced its uniformity with the rest of the painting: it can be
seen, in fact, that the colour has worn to the same degree,
especially in the more protruding areas, and has not penetrated into
the fissures of the craquelure as would have been the case if the
signature had been inscribed onto a painted surface that was already
old. |
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Photo 7 |
Photo 8 |
Examination under Woods light also showed that the reactions of the signature were comparable to those of the rest of the painting (photo no.9 taken under Woods light). These observations therefore attest to the fact that the signature is contemporary with the painting. |
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Total analysis with Wood's light. |
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An overall
examination of the painting under Woods light showed up a
little number of restored areas, particularly to the upper
right in correspondence with the sky: in fact under Woods
light these areas appear as dark patches. They are clearly
visible in photo no. 10 taken with the help of specific
filters and subsequent digital elaboration. |
IR Reflectographic
Analysis |
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The analysis in
infrared reflectography allows to study the painting in
depth obtaining information about possible drawings
below the painting surface. |
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Foto 11
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In this specific
case the analysis did not found a preparatory drawing of the
subject below, but it pointed out some parallel lines to
external edges, which determine a perimetric rectangle. |
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An FT-IR spectroscopic test was then carried out on a number of areas of colour in order to establish the pigments used.
In particular we
studied a surface white, the white preparatory layer and the blue of
the river water.
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The white used on the surface resulted as being
made up of: lead white with barium sulphate and an addition of zinc
white; The absence of titanium white, a pigment used only after 1920, was also verified. |
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Conclusions: The above observations and the results of the scientific tests give us a series of positive indications of the paintings natural ageing:
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the result of the age of the stretcher: 115 years For these reasons it is possible to attest its compatibility with the spectroscopic dating of the wood of the stretcher. It is also positive that there are no signs of forgery in the painting or in the signature itself and that its apparent age coincides with the last years of life of the painter in question. |
END OF THE CERTIFICATE
To return to the
laboratory: click
Other requests may be sent, as always, directly to the Milan laboratory at the following address:
Museo dArte e Scienza |
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For further info: |
www.Museoartescienza.com
www.AntiqueFurnitureAuthenticity.com |
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Title: | THE ART COLLECTOR'S ILLUSTRATED HANDBOOK (three volumes - three languages) |
The Author, Gottfried Matthaes, a physicist, was born in Germany of a family of longstanding artistic tradition and since 1960 has dedicated himself to the study of practical and scientific methods for the ascertainment of authenticity. In 1990 he founded the "Museo d'Arte e Scienza", the only one of its kind in the world, in the centre of Milan where most of the objects illustrated in the handbooks are exhibited, together with its attached laboratory. In 1993 he discovered and patented the application of IR spectroscopy to the age dating of wooden art objects. |
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Contents: |
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Price: |
Volume 1 (278 pages) 40.00 Euro Volume 2 (128 pages) 30.00 Euro Volume 3 (128 pages) 30.00 Euro Shipping charges are not included . |
International Code: |
Volume 1 - 1997, Code ISBN
978-88-900454-5-5 |
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How to buy it: |
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for further informations about the book www.ArtAndScienceHandbook.com
OTHER SITES OF THE MUSEUM OF ART AND SCIENCE:
www.MuseoArteScienza.com - Sections of the "Museo d'Arte e Scienza": 6 rooms dedicated to the ascertainment of authenticity in art and antiques, 5 rooms on Leonardo da Vinci's "Treatise on Painting" and his activities in Milan, 5 rooms dedicated to African Art and Buddhist Art, 2 Scientific Laboratories.
www.LeonardoDaVinciMilano.com - Two permanent exhibitions: "Leonardo Citizen of Milan" and "Appreciating Art through the Eyes of Leonardo" from his "Treatise on Painting".
www.AuthenticAfricanBronzesandCeramics.com - Dedicated to the authenticity of African artworks in bronze, stone and pottery. The scientific laboratory of the Museo dArte e Scienza has developed valid methods for telling authentic African objects from copies and fakes.
www.ArtAndScienceHandbook.com - The most complete and scientifically valid guide to ascertaining the authenticity of European and non-European antiques on an objective basis (540 pages and more than 2,000 colour illustrations in 3 volumes and 3 languages).
www.AntiqueFurnitureAuthenticity.com - A list of possible
methods for determining the authenticity of furniture based on objective
factors.
www.Excavatedartauthenticity.com - "A list of all the possible ways of determining, on the basis of objective factors, the authenticity of excavated pottery, glass or bronze items from Southern Italy, the Mediterranean Basin, China and South America.".
www.AfricanArtAuthenticity.com - "Art and Life in Black Africa", The African Art didactic section of the Museum (5 rooms and over 350 objects).
www.SpectroscopyforArt.com - A scientific method for the dating of wood and identification of the wood type used for art objects. Determination of their authenticity through analysis of colours, binders, pigments and other organic substances.
www.Matthaes.org
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The history of
the G. Matthaes Foundation
from the opening of the painting school
www.CopiesAndFakesInArt.com - Ample further descriptions for ascertaining authenticity in art in the individual fields of antiques.
www.IvoryAuthenticityAndAge.com - Ivory, bone and horn can now be spectroscopically dated and accurately identified.
www.AmiciMuseoArteScienza.org - An association of the Museum founded in 2010 to patronize and promote the restoration and preservation of works of art and the development of appropriate scientific methods for determining their authenticity.
www.arteautentica.it - The Museum's scientific laboratory is in charge of the investigation of the authenticity in art and antiques and is available to individuals, collectors, art experts, restorers and museums.
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