Petru Ovidiu Tanasa

By correlating the structural–functional dimensional data with a series of archaeometric and chemometric characteristics determined by dendrochronological analysis and by three instrumental techniques (Scanning Electronic Microscopy, coupled with Energy Dispersive X-ray, µ-FTIR Spectroscopy and Thermal Analysis in Dynamic Mode), a Stradivarius violin was authenticated as having been made by one of the two Stradivari sons (Francesco or Omobono) in 1723. It should be noted that the “petite” type violin, which comes from a private collection and was recently purchased on the open market, has the original label and is in a poor preservation state. There is only one revarnishing intervention on the violin, and it is older than 80 years. There have been several attempts at sampling (all of which are under 30 years old) for the wooden support and varnish (from the top cover of the resonance box), but the existence of some analysis results is unknown. The dimensional characteristics of the structural–functional components place the violin in “petite violins”, and it is one of the more than 40 still preserved as an authentic artifact.

The paper presents the expertise of authenticating a painting by Nicolae Grigorescu through the involvement of multi-analytical techniques, in order to identify and evaluate some archaeometric and chemometric characteristics of the pictorial materials and of the support, used in determining the age. The painting is made with oil colors on pressed cardboard, with preparation based on chalk powder and animal glue. The painting presents two elements as being counterfeit, which have attracted suspicions, namely the signature of the author (presenting a semi-transparent covering veil), and, on the back, a writing of dating, performed by a very controversial art historian. The investigation was carried out by direct analysis with magnification devices, in reflected UV (ultraviolet), VIS (visible), and NIR (near- infrared) light, and by OM, SEM-EDX, and μ-FTIR. The results showed that the painting is authentic and belongs to Nicolae Grigorescu, and the dating established previously by Amelia Pavel through the writing on the back is certain.

The paper presents the authentication of a Stradivari 1737 type violin, which belonged to the Romanian scientist Ştefan Odobleja. The analytical methods used in the study for assessing archaeometric characteristics of some component materials, along with the white degree and glycolysis rate measurements of the label that allowed an extensive evaluation of the violin, were OM, SEM–EDX, and micro-FTIR. The preparation binder (egg white from thin gypsum layers) and the varnish (identification of linseed oil and colophony components, alongside contamination impurities) were assessed in order to evaluate the artefact conservation state, as well as the restoration and counterfeiting interventions. We can conclude that the violin was done by a violin maker from the Stradivari family, and it is a replica of the violins of that period.