museums and institutions:
National Gallery, London, Great Britain
/ Königliche Museen zu Berlin, Berlin, Germany
/ Fogg Art Museum, Cambridge, United States
/ Kunsthistorisches Museum, Vienna, Austria
/ Musées royaux d’art et d’histoire, Brussels, Belgium
Attributed works:
1. Johannes Wilde holding an X-radiograph plate in front of The Mystic
Marriage of St Catherine, by Ciro Ferri, in the Kunsthistorisches
Museum, Vienna, in the 1930s. (IPD Photographic Agency, Vienna;
Courtauld Institute of Art, London, Wilde Special Collection).
Attributed works:
10. Joyce Plesters working with the Zeiss laser microspectral
analyser, in the Scientific Department, National Gallery, London.
Photograph, c.1977. (© National Gallery, London).
Attributed works:
11. Microsectioner mounted to a binocular microscope on an adjustable
stand in preparation for sampling. Photograph, undated. (Harvard Art
Museums Archives, Harvard University, Cambridge MA.).
Attributed works:
12. Cross-section of a sample of orange paint from St Joseph’s robe in
Fig.14, taken during conservation treatment in 1953. Black-and-white
photograph taken at a magnification of about 35x by balancing a camera
on the body tube of an 1895 Leitz microscope in place of the eyepiece,
then hand coloured by Joyce Plesters, included in the conservation
dossier for the painting. (© The National Gallery, London).
Attributed works:
13. The same cross-section photographed recently using a camera
integrated into modern microscope equipment, repolished before
photography. The pigments and layer structure – a layer of bright orangeyellow
realgar, probably mixed with orpiment, over layers of orange-yellow
earth pigment and red and yellow earth pigments mixed with lead white –
are revealed in far greater detail. The translucent material at the top
of the cross-section is varnish. (© The National Gallery, London).
Attributed works:
14. The Holy Family with a shepherd, by Titian. c.1510. Oil on canvas, 99.1
by 139.1 cm. (National Gallery, London).
Attributed works:
2. Rutherford John Gettens seated at the microscope, photographed
by Walter R. Fleischer, Harvard News Office, at an unknown date. (HUP
Gettens, Rutherford (1), Harvard University Archives).
Attributed works:
3. Walter Gräff in his examination studio in the Alte Pinakothek, Munich,
in 1933. (Doerner Institut, Munich; reproduced by permission of the
Doerner Institut).
Attributed works:
4. Narayan Khandekar with the Art-X portable X-ray machine
(replacing the Picker) commissioned by Alan Burroughs for the Fogg
Museum in 1939 with Philip III of Spain, from the workshop of Pantoja
de la Cruz, at the Straus Center for Conservation and Technical
Studies, Harvard University. (President and Fellows of Harvard
College; photograph © Caitlin Cunningham Photography, 2019).
Attributed works:
5. X-radiograph of the detail in Fig.6. Date unknown. (Harvard Art
Museums/Straus Center for Conservation and Technical Studies,
Alan Burroughs Collection of X-Radiographs).
Attributed works:
6. Detail of two standing nymphs from Feast of the Gods, by Giovanni
Bellini and Titian. 1514/1529. Oil on canvas, 170.2 by 188 cm. (National
Gallery of Art, Washington).
Attributed works:
7. Detail of Arnolfini’s hand from Portrait of Giovanni(?) Arnolfini and
his wife, by Jan van Eyck. 1434. Oil on panel, 82.2 by 60 cm. (© National
Gallery, London).
Attributed works:
8. Infra-red photograph showing change of position of the hand
between drawing and painting, the painted hand only partly obscuring
the drawing as it is thinly painted. (© National Gallery, London).
Attributed works:
9. Infra-red reflectogram of the hand, recorded using the
experimental SIRIS instrument with an InGaAs (indium gallium
arsenide) array sensor c.2003. The images obtained with these more
recent systems are sharper than those published in 1995 using the
Hamamatsu vidicon (see note 39), but all reveal more drawing than
in the infra-red photograph, notably in Arnolfini’s arm, the position
of which was altered between drawing and painting. (© National
Gallery, London).
