57Fe Mössbauer, SEM/EDX, p-XRF and μ-XRF studies on a Dutch painting

• Published in: Hyperfine interactions Vol. 237; no. 1; pp. 1 - 10
• Main Authors: Lehmann, R., Schmidt, H.-J., Costa, B. F. O., Blumers, M., Sansano, A., Rull, F., Wengerowsky, D., Nürnberger, F., Maier, H. J., Klingelhöfer, G., Renz, F.
• Format: Journal Article
• Language: English
• Published: Cham Springer International Publishing 2016; Springer Nature B.V
• Subjects: 13-18 September 2015; Atomic; Condensed Matter Physics; Germany; Hadrons; Hamburg; Heavy Ions; Hematite; Iron; Iron 57; Molecular; Mossbauer spectroscopy; Nuclear Physics; Optical and Plasma Physics; Physics; Physics and Astronomy; Pigments; Proceedings of the International Conference on the Applications of the Mössbauer Effect (ICAME 2015); Spectrum analysis; Surfaces and Interfaces; Thin Films; Titanium; X ray fluorescence analysis; Pigments; Painted artwork; SEM/EDX; μ-XRF; Mössbauer spectroscopy; p-XRF
• ISSN: 0304-3843; 1572-9540
• DOI: 10.1007/s10751-016-1296-3

The painting of a rich Jewish merchant “Bildnis eines jüdischen Kaufmanns” from the Netherlands is dated presumably to the 16 th century. After a vivid historical background, i.e. robbed by the Nazis by order of Hermann Göring, it was recently discovered on an Austrian flea market. Different analysis methods were combined to identify the time of the production of this historically interesting looted art. Non-destructive MIMOS II Fe-57 Mössbauer spectroscopy was utilised for mesurements in selected spots. This mainly revealed haematite ( α -Fe 2 O 3 ) in the red curtain. In spots of the brown jacket Mössbauer spectra indicated the presence of mainly Iron(III) in super-paramagnetic oxide or oxide-hydroxide. Consecutively SEM measurements revealed a restoration by partly over-painting. The elementary composition of the pigments was examined by a portable-X-ray fluorescence. μ -XRF analysis for element distribution at different areas was performed. The look into a crack showed Zinc-white at the bottom of the crack. Traces of Titanium-white could be found within some locations on the surface of the painting. In terms of provenance of the artwork, the presence of Zink-white suggests that the painting was painted around the 19 th century. Titanium-white indicates a reconstruction during the 20 th century, approximately between 1917 and 1958.