Arie Pappot
Rijksmuseum Amsterdam, Conservation Restoration Research, Faculty Member
- Universiteit van Amsterdam, Conservation and Restoration of Cultural Heritage, Department Memberadd
The so-called 'Merkelsche Tafelaufsatz', a centrepiece made by the Nuremberg goldsmith Wenzel Jamnitzer in 1549, is one of the most famous masterpieces in goldsmithing from the sixteenth century. For the opening of the new... more
The so-called 'Merkelsche Tafelaufsatz', a centrepiece made by the Nuremberg goldsmith Wenzel Jamnitzer in 1549, is one of the most famous masterpieces in goldsmithing from the sixteenth century. For the opening of the new Rijksmuseum, the centrepiece needed conservation treatment, which provided the opportunity for an in-depth examination. One of the most interesting findings concerned the so far undiscovered remnants of a largely removed etched text on the silver plaque fixed to the bottom of the piece. The traces of the text, which must derive from the time Jamnitzer made the centrepiece, were non-destructively analysed with the AGLAE mapping system at the Musée du Louvre, and some letters could be discriminated. These results shed new light on the history of the piece and a possible special occasion for which this object may have been made.
ABSTRACT Neutron transmission measurements using polychromatic and energy-selective neutron imaging methods were performed with plates of different reconstructed historic copper alloys containing Cu–Sn, Cu–Pb and Cu–Zn. Through comparison... more
ABSTRACT Neutron transmission measurements using polychromatic and energy-selective neutron imaging methods were performed with plates of different reconstructed historic copper alloys containing Cu–Sn, Cu–Pb and Cu–Zn. Through comparison with tabulated cross-section values, the alloy component weight fraction could in an accurate quantitative and non-destructive way be retrieved. The results show a good agreement for most of the investigated compositions while the discussion about the remaining discrepancies hints at material inhomogeneities. With this study the way is paved to determine quantitatively in a non-invasive way the composition of unknown historical bronze alloy objects.
Research Interests:
Until recently the inside parts of hollow cast Renaissance bronze statuettes were concealed, yet they hold important information on the production techniques used in the manufacture of these fine works of art. For that specific reason the... more
Until recently the inside parts of hollow cast Renaissance bronze statuettes were concealed, yet they hold important information on the production techniques used in the manufacture of these fine works of art. For that specific reason the inside of the sculptures have been ...
Research Interests:
After the output of the three main European copper mining areas (Mansfeld, Tyrol and Neusohl) declined from the second half of the 16th century, Sweden and Japan became the most important copper producers. From the start of the... more
After the output of the three main European copper mining areas (Mansfeld, Tyrol and Neusohl) declined from the second half of the 16th century, Sweden and Japan became the most important copper producers. From the start of the Portuguese, and to a lesser extent Italian spice trade, copper and brassware had been important European trading goods, being shipped all the way to the Indian west coast. Although the American and West African markets kept drawing a lot of European copper and brass, the typical Japanese copper bars gradually took over the Asian market. From as early as 1624, at times of European high conjuncture, the Japanese copper was even imported to the Netherlands by the Dutch East Indian Company, which had a monopoly on Japanese trade. The amounts of Japanese copper on the European markets have always been compared to the Swedish production and export and were regarded as insignificant (Glamann; Heckscher). However, the Asian product clearly dominates the Dutch market in certain periods, specifically 1655-1675 and 1690-1710 (Shimada). These periods coincide with monumental projects as the building of the Amsterdam town hall (today the Royal Palace) and the later years of Rembrandt van Rijn. The Japanese copper might have left its footprint in these artistic highlights and its elemental and isotopic composition might serve as an indication for Dutch provenance.
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Master thesis on the local treatment of bronze pest using sodium sesquicarbonate solutions
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18th and 19th century techniques and recipes for fire gilding bronze, mostly French.
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The mechanical and chemical finishing of gilt bronze ornaments and mountings was a complex and delicate balance of glossy and matted surfaces of different hues, that peaked during the 18th and 19th century in Paris. Although many... more
The mechanical and chemical finishing of gilt bronze ornaments and mountings was a complex and delicate balance of glossy and matted surfaces of different hues, that peaked during the 18th and 19th century in Paris. Although many contemporary sources at least give an idea of the operations and ingredients involved, the exact recipes seem to have been kept secret. Matthew Boulton for example, in trying to compete with the French workmen, noted in the 1760’s:
[I wonder] how and with what ingredients the French gilders colour their fine gilt sconces after they are gilt, for I observe that most of them gild upon brass instead of pinchbeck which gilding upon brass will always be paler than that upon pinchbeck, yet nevertheless their sconces when finished appear of deep golden orange red and therefore I presume they are boyled in some sauce or other after they are gilt. (Goodison: The work of Matthew Boulton,1974, p 73)
The knowledge of the chemistry of these “sauces” developed during the early 19th century and even further today. Apart from recipes that are based on dyes in waxes, most actually seem capable of altering the composition of the surface by diffusion of metals and metal oxides into the gold. Traces of these coloring treatments might still be present today.
In this paper, the main types of recipes will be discussed, their development, chemistry and coloring effect and the consequences for conservators that treat these objects.
[I wonder] how and with what ingredients the French gilders colour their fine gilt sconces after they are gilt, for I observe that most of them gild upon brass instead of pinchbeck which gilding upon brass will always be paler than that upon pinchbeck, yet nevertheless their sconces when finished appear of deep golden orange red and therefore I presume they are boyled in some sauce or other after they are gilt. (Goodison: The work of Matthew Boulton,1974, p 73)
The knowledge of the chemistry of these “sauces” developed during the early 19th century and even further today. Apart from recipes that are based on dyes in waxes, most actually seem capable of altering the composition of the surface by diffusion of metals and metal oxides into the gold. Traces of these coloring treatments might still be present today.
In this paper, the main types of recipes will be discussed, their development, chemistry and coloring effect and the consequences for conservators that treat these objects.
Research Interests:
--> http://online.liverpooluniversitypress.co.uk/doi/abs/10.3828/sj.2017.26.1.4 In case of any questions regarding accessibilty, please send an e-mail to A.L.Wiersma@uu.nl Jacques Jonghelinck (1530-1606) was one of many Netherlandish... more
--> http://online.liverpooluniversitypress.co.uk/doi/abs/10.3828/sj.2017.26.1.4
In case of any questions regarding accessibilty, please send an e-mail to A.L.Wiersma@uu.nl
Jacques Jonghelinck (1530-1606) was one of many Netherlandish artists of his generation that traveled to Italy. Originating from Antwerp, he worked in the Leoni workshop in 1552 and settled in Brussels on his return north, where he became a prominent court artist. Today, the sculptural oeuvre of Jonghelinck is scattered over the world, and has not received much technical attention. The tradition of bronze sculpture in the Netherlands leaps from the more ornamental brass works of Jan Aert van Tricht to the life size Renaissance figures of Jonghelinck, with very little in between (Leone Leoni and Conrad Meit were working in Brussels in this period, but little is known about their influence and the broader sculptural developments in that time). As Jonghelincks early career is strikingly similar to that of Giambologna, Adriaen de Vries and others, this paper might also contribute to a deeper understanding of the background of this particular group of sculptors. A comparison between his works and that of Leone and Pompeo Leoni (1509-1590 and 1533-1608) tells us more about the impact of Italian bronze sculpture on the techniques of Netherlandish workshops, and helps determine the characteristics of Jonghelinck's bronzes. In both workshop practice and his use of materials, Jonghelinck clearly followed his Milanese employer. Alas, not that many monumental sculptures left the artist's workshop, but the pieces that did demonstrate his artistic resourcefulness. In this paper, particular attention is paid to the Planet Series to support this statement. Additionally, we argue that the artist might have been trained by an Augsburg master, as a result of which he would have become the perfect Renaissance bronze sculptor with an outstanding background in goldsmithing.
This research was first presented at the Robert H. Smith Renaissance Sculpture Conference 'International connections: Renaissance sculptors and their impact abroad', Victoria & Albert Museum, London 2015.
In case of any questions regarding accessibilty, please send an e-mail to A.L.Wiersma@uu.nl
Jacques Jonghelinck (1530-1606) was one of many Netherlandish artists of his generation that traveled to Italy. Originating from Antwerp, he worked in the Leoni workshop in 1552 and settled in Brussels on his return north, where he became a prominent court artist. Today, the sculptural oeuvre of Jonghelinck is scattered over the world, and has not received much technical attention. The tradition of bronze sculpture in the Netherlands leaps from the more ornamental brass works of Jan Aert van Tricht to the life size Renaissance figures of Jonghelinck, with very little in between (Leone Leoni and Conrad Meit were working in Brussels in this period, but little is known about their influence and the broader sculptural developments in that time). As Jonghelincks early career is strikingly similar to that of Giambologna, Adriaen de Vries and others, this paper might also contribute to a deeper understanding of the background of this particular group of sculptors. A comparison between his works and that of Leone and Pompeo Leoni (1509-1590 and 1533-1608) tells us more about the impact of Italian bronze sculpture on the techniques of Netherlandish workshops, and helps determine the characteristics of Jonghelinck's bronzes. In both workshop practice and his use of materials, Jonghelinck clearly followed his Milanese employer. Alas, not that many monumental sculptures left the artist's workshop, but the pieces that did demonstrate his artistic resourcefulness. In this paper, particular attention is paid to the Planet Series to support this statement. Additionally, we argue that the artist might have been trained by an Augsburg master, as a result of which he would have become the perfect Renaissance bronze sculptor with an outstanding background in goldsmithing.
This research was first presented at the Robert H. Smith Renaissance Sculpture Conference 'International connections: Renaissance sculptors and their impact abroad', Victoria & Albert Museum, London 2015.