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[Display omitted] • An undated multi-colour woodcut is investigated by a multi-technique approach. • Paper preparation and ink palette are identified by EDXRF and μ-Raman. • Archaeometric analyses date the artwork at the beginning of 20th century. In this work, a multi-colour woodcut on paper, representing a Minnesanger (love poet) who declares his love to a young lady, was studied from both historical and archaeometric points of view. In the absence of historical or documentary information, non-invasive imaging, EDXRF, and µ-Raman spectroscopies were employed, in order to date this artefact. The woodcut Minnesang is known in a single and so-far undescribed copy and shows the influence of German Renaissance colour woodcuts as well as Arras 15th century tapestries. Nevertheless, according to our investigations, it does not date back to that period. In fact, the presence of Prussian blue and chrome yellow and, most of all, the finding of two organic pigments, namely PR53:1 and PR81, suggest to date the artwork at the beginning of the 20th century, in the context of a neo-Gothic Arts and Crafts revival. [ABSTRACT FROM AUTHOR]

This work is part of a multi-disciplinary study aimed at creating the first scientific database to support the future authentication of paintings on the art market. In particular, five fake paintings attributed to the Italian painter Pippo Oriani (1909–1972) have been characterized. Since no scientific literature concerning the material composition used by the artist is available, the five paintings were studied with a multi-technique approach aiming at better understanding the forgery process. The obtained results can be used in the future as a first step to support the authentication of Oriani's artworks on the art market. In particular, it allows to evaluate the consistency of data obtained from future scientific investigations on Oriani's artwork with the forgery process reported in the present database. Non-invasive diagnostic tools, such as UV imaging, IR and IR-false colour photography, XRF, μ-Raman and FTIR spectroscopies have been used to fully characterize the fake paintings. The combination of these techniques led to obtaining useful information on the support preparation method, the pictorial materials, and the execution technique of the artist/forger(s). A wide range of inorganic pigments and organic dyes have been detected, together with the use of oil and wax as binders. The results revealed a strong similarity among the different paintings, thus supporting the idea that the forger(s) knew very well the original Oriani's pictorial technique. The detailed identification of all the materials used in the forgery process for Oriani's fake paintings will help to support the authentication of other ambiguous paintings in future cases. [Display omitted] • Oriani's forger(s) database to support the authentication process has been created. • A combined use of imaging and spectroscopic techniques has been adopted. • A wide range of inorganic pigments and organic dyes have been identified. • Binders include wax and oil, supporting the encaustic technique on cardboard. [ABSTRACT FROM AUTHOR]

[Display omitted] • We demonstrate that Vasari's " Coronation of the virgin" is a finished work. • Mapping and punctual techniques are used for non-invasive spectroscopic analyses. • Paper preparation, inks, and impurities are identified by μ-Raman, FTIR, and MA-XRF. • This work sheds light on Giorgio Vasari's sophisticated artistic techniques. In the present paper, for the first time, non-invasive techniques have been employed to improve the knowledge of a Coronation of the Virgin dating back to 1560–70. This is an old master drawing by Giorgio Vasari, considered one of the major painters and art theoric of Italian late 16th Century. The adopted multi-technique approach, involving preliminary macroscopic and microscopic observations, and followed by X- ray fluorescence mapping (MA-XRF), μ-Raman, and Fourier Transform infrared spectroscopy (FTIR) analyses, along with the historical information, has allowed to identify the original materials and to understand the drawing's realization process. The results show that paper preparation has been realized by using a yellow mineral, namely goethite, in order to obtain a particular shade. Moreover, a proteinaceous component, likely animal gelatin, has been used as a binder for goethite or during the paper preparation process. Small white flakes, composed of lead white and massicot, have been randomly found on the surface of the drawing: the specific function and/or origin of these flakes is unknown. Finally, the use of black chalk for a preliminary sketch and iron gall ink for the final drawing has been observed. [ABSTRACT FROM AUTHOR]