The Experts below are selected from a list of 360 Experts worldwide ranked by ideXlab platform
Pierce, James Smith - One of the best experts on this subject based on the ideXlab platform.
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Loranzo Dow Pugh: Rock Carving of Two People
UND Scholarly Commons, 2020Co-Authors: Pierce, James SmithAbstract:Loranzo Dow Pugh, 1906-1993, was born in Putnam County, Tennessee. Approximately 24 years later he moved to Battle Creek, Michigan where he worked as a machinist. By 1935, Pugh returned to Monterey, Tennessee, where he would spend the rest of his life. During this time he created Artwork, some of which was created with just natural materials found in his backyard. He became known for his woodcarvings, but also carved Art out of stone. His Artwork can be described as “Folk Art,” which is rooted in traditions for culture and community and expresses cultural identity. As a woodcarver, he would create furniture with interesting designs that others would eventually buy in auctions. This image shows the humans, turtle, and snake from another angle. It also features a lizard carving. Image is provided for educational purposes only. © University of North Dakota. All rights reserved.https://commons.und.edu/road-less-traveled/1035/thumbnail.jp
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Loranzo Dow Pugh: Rock Carving of The Bust of a Man
UND Scholarly Commons, 2020Co-Authors: Pierce, James SmithAbstract:Loranzo Dow Pugh, 1906-1993, was born in Putnam County, Tennessee. Approximately 24 years later he moved to Battle Creek, Michigan where he worked as a machinist. By 1935, Pugh returned to Monterey, Tennessee, where he would spend the rest of his life. During this time he created Artwork, some of which was created with just natural materials found in his backyard. He became known for his woodcarvings, but also carved Art out of stone. His Artwork can be described as “Folk Art,” which is rooted in traditions for culture and community and expresses cultural identity. As a woodcarver, he would create furniture with interesting designs that others would eventually buy in auctions. This stone carving depicts the upper half of a man wearing fancy clothes. The carving has experienced weathering from exposure to the elements since it was originally created. Image is provided for educational purposes only. © University of North Dakota. All rights reserved.https://commons.und.edu/road-less-traveled/1036/thumbnail.jp
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Loranzo Dow Pugh: Snake and Turtle Rock Carving
UND Scholarly Commons, 2020Co-Authors: Pierce, James SmithAbstract:Loranzo Dow Pugh, 1906-1993, was born in Putnam County, Tennessee. Approximately 24 years later he moved to Battle Creek, Michigan where he worked as a machinist. By 1935, Pugh returned to Monterey, Tennessee, where he would spend the rest of his life. During this time he created Artwork, some of which was created with just natural materials found in his backyard. He became known for his woodcarvings, but also carved Art out of stone. His Artwork can be described as “Folk Art,” which is rooted in traditions for culture and community and expresses cultural identity. As a woodcarver, he would create furniture with interesting designs that others would eventually buy in auctions. This is an image of the legs of a human, a turtle, and a snake carved by Pugh in his backyard. Along with carving the Artwork, Pugh often chose to paint his pieces as well. Image is provided for educational purposes only. © University of North Dakota. All rights reserved.https://commons.und.edu/road-less-traveled/1034/thumbnail.jp
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Mary Tillman Smith: Smith\u27s House
UND Scholarly Commons, 2020Co-Authors: Pierce, James SmithAbstract:Mary Tillman Smith, 1905-1995, created works inspired by cultural movements after the assassination of MArtin Luther King Jr. Smith was born in the town of MArtinville, Mississippi and was the third of thirteen children. She was educated through the fifth grade, but could not make it to the eighth grade, which was the cap for black students, due to a serious hearing impairment that affected her speech. The school provided no disability accommodations for black students and therefore, Mary had difficulties for the short amount of time she was in school. When she was younger, she was often found drawing rather than playing with other children. Smith gave birth to her only child in 1941 and built a house where she created her Artwork. She used a nearby dump to her advantage and gathered tin for her paintings. As Smith grew older, her hearing worsened, and she found comfort in religion. Many of her pieces depict religious activities and Jesus. She used Art to communicate her ideas through patterns and designs. Mary died in 1995 and became one of the most important Folk Art creators. No longer in existence, the Art from Smith’s Hazlehurst home is now in various museums and galleries. This image shows Mary’s house, which was her safe space and the home of her and her only child until she passed away in 1995. Image is provided for educational purposes only. © University of North Dakota. All rights reserved.https://commons.und.edu/road-less-traveled/1043/thumbnail.jp
Jacob Thomas - One of the best experts on this subject based on the ideXlab platform.
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ft raman analyses of blue dyes stuff common in swedish Folk Art from halsingland during 18th and 19th century
Chemical Science, 2016Co-Authors: Ingalill Nystrom, Susanne Wilken, Jacob ThomasAbstract:The overall aim of this study is to gain a better understanding of the historic use of woad in Sweden in the 18th and 19th centuries. A key question is, whether it is possible to distinguish between indigo from woad and exotic indigo using Raman spectroscopy? Reference samples prepared according to historic recipes using woad, exotic indigo, logwood and brazilwood - were used to dye different textile fibres - cotton, wool and linen. In addition, various reference compounds - indigotin, indirubin, kaempferol, luteolin, 3-hydroxyflavone and tryptanthrin - as well as the ‘flower’ of the woad dye bath were analysed to identify specific fingerprint regions for each compound. Blue threads from four historic textiles - a skirt and three rag balls - from the region of Halsingland were then analysed in comparison to the references. A specific peak at 993 cm-1 was identified in the spectra taken from the flower of the woad vat, which we suggest possibly arises from 3-hydroxyflavone. DSA-ToF-MS analysis suggests flavoneglycosides as possible candidates. However, cellulosic substrates show a broad vibration at 999 cm-1 overlapping the flavone signature, thus rendering it non-diagnostic, but it might be possible to use this peak in Raman analyses supported by mass spectrometry to distinguish between indigo from woad and exotic indigo if the substrate is wool or if it is a pigment. Raman analyses of the historic samples identify the colourants as indigo and possibly woad and logwod mixed with brazilwood.
Wilken Susanne - One of the best experts on this subject based on the ideXlab platform.
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FT-Raman analyses of dyes and lac pigments in Folk Arts and crafts in the interiors of Decorative Farmhouses of H\ue4lsingland, Sweden, UNESCO World Heritage
2015Co-Authors: Nystr\uf6m Ingalill, Wilken SusanneAbstract:This pilot study is about method development using FT-Raman supplemented with computational methods for analyzing dyes and lac pigments used in Folk Art and craft from H\ue4lsingland, Sweden, during the 18th and 19th century. The study is pArt of an interdisciplinary four years long project funded by the Swedish Research Council (Vetenskapsr\ue5det). Conservation scientists, chemists, physicists, conservators, Art historians and ethnologists from different Swedish universities are collaborating to make a holistic approach and material characterization of wall paintings, painted wall-hangings, decorated wooden furniture and patterned textiles in Decorated Farmhouses of H\ue4lsingland, UNESCO World Heritage since 2012. Spectroscopic methods combined with historic sources are used to understand the materials and the context and time when these Artefacts were made. The interdisciplinary collaboration is essential and in this way, new and deeper knowledge of the paint, coatings, painting techniques and dyeing methods in the 18th and 19th century Swedish Folk Art and handicrafts can be obtained. The relevant research questions span over a wide range, for example about the existence and time frame of woad and turkish red dye. Suitable materials for characterization are for example clothing, which are often possible to date historically due embroidered monograms. Therefore, the material characterization of clothing dyes may shed light on the usage and distribution of various Folk Art techniques.In the pilot study we present different historic dyestuff such as safflower, cochineals, madder, turkish red, brazilwood, fustic, birch leaves, weld, turmeric, woad, indigo and indigo carmine - all common in Sweden during this period. The dye references were made according to old Swedish recipes. Different textile fibres - cotton, wool and linen/flax - were dyed. In addition various colouring matters - for example purpurin, alizarin, atranorin, orcein, myricetin, luteolin, quercetin, rhamnetin, emodin, crocin, curcummin, kaempferol, indigotin and indirubin - were tested to identify specific fingerprint regions for each dye. In order to assist the interpretation of the vibrational spectra of the samples, computational methods were performed.A typical case study is presented below: threads from an authentic textile, a blue skirt from early 19th century Delsbo parish, were analyzed using FT-Raman spectroscopy. The spectra were then compared with reference spectra. The Raman spectrum of a blue colored linen warp thread is shown together with the spectrum of pure indigotin as a reference (Figure 1). Preliminary results indicate that we are able to identify the main peaks as originating from indigotin in addition background from the linen fibre, suggesting indigo as the dye. Woad was also a common dye during the 18th and 19th century in Sweden [1]. Different from indigo, woad may also contain kaempferol. The comparison with reference spectra however did not yield a match in the fingerprint regions of kaempferol at f.ex. 1188 cm-1 and 1606 cm-1 [2, 3]. Therefore we may exclude woad as an ingredient in the colouring dye of this specific piece of clothing. Historic sources from 18th century usually mention woad as an additional ingredient in the indigo vat to catalyze and help the bacterial fermentation process [4, 5]. During 19th century though, woad is more seldom mentioned as an ingredient and perhaps this is an example of a more modern indigo vat.Other preliminary results shows that almost all pure colouring matters and some of the dyed textile fibres are easy to analyze with FT-Raman. However, it is difficult to analyse red dyes with this method. Furthermore, wool sometimes complicates the analyses. Therefore, we will continue using FT-Raman analyses and the computational models, supplemented with other analytical methods such as SERS and field-free APCI-TOF MS. References[1] Linders, J. Swenska F\ue4rge-konst: med Indlandske \uf6rter, g\ue4s, blommor, blad, l\uf6f, barkar, r\uf6tter, wexter och mineraler. Stockholm: Johan Laur. Horrn, Kungliga Antiquit. Archivi Boktr., 1720.[2] Nystr\uf6m, I. Bonadsm\ue5leri under lupp: spektroskopiska analyser av f\ue4rg och teknik i sydsvenska bonadsm\ue5lningar 1700-1870. Gothenburg Studies in Conservation 29. G\uf6teborgs Universitet: Acta Universitatis Gothoburgensis, 2012.[3] Nystr\uf6m, I. Spectroscopic analyses of Artists\u27 pigments and materials used in Southern Swedish painted wall hangings from the 18th and 19th centuries. Studies in Conservation. Maney, 2014.[4] Hurry, J. B. The woad plant and its dye. London: Oxford University Press, H. Milford (Repr. ed. Clifton New Jersey: Augustus M Kelley Pubs. june 1973), 1930.[5] Cardon, D. Natural dyes: sources, tradition, technology and science. London, Archetype, 2007.AcknowledgmentThis work is financially supported by the Swedish Research Council, Vetenskapsr\ue5det
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FT-Raman analyses of dyes and lac pigments in Folk Arts and crafts in the interiors of Decorative Farmhouses of Hälsingland, Sweden, UNESCO World Heritage
2015Co-Authors: Nystr\uf6m Ingalill, Wilken SusanneAbstract:This pilot study is about method development using FT-Raman supplemented with computational methods for analyzing dyes and lac pigments used in Folk Art and craft from Hälsingland, Sweden, during the 18th and 19th century. The study is pArt of an interdisciplinary four years long project funded by the Swedish Research Council (Vetenskapsrådet). Conservation scientists, chemists, physicists, conservators, Art historians and ethnologists from different Swedish universities are collaborating to make a holistic approach and material characterization of wall paintings, painted wall-hangings, decorated wooden furniture and patterned textiles in Decorated Farmhouses of Hälsingland, UNESCO World Heritage since 2012. Spectroscopic methods combined with historic sources are used to understand the materials and the context and time when these Artefacts were made. The interdisciplinary collaboration is essential and in this way, new and deeper knowledge of the paint, coatings, painting techniques and dyeing methods in the 18th and 19th century Swedish Folk Art and handicrafts can be obtained. The relevant research questions span over a wide range, for example about the existence and time frame of woad and turkish red dye. Suitable materials for characterization are for example clothing, which are often possible to date historically due embroidered monograms. Therefore, the material characterization of clothing dyes may shed light on the usage and distribution of various Folk Art techniques. In the pilot study we present different historic dyestuff such as safflower, cochineals, madder, turkish red, brazilwood, fustic, birch leaves, weld, turmeric, woad, indigo and indigo carmine - all common in Sweden during this period. The dye references were made according to old Swedish recipes. Different textile fibres - cotton, wool and linen/flax - were dyed. In addition various colouring matters - for example purpurin, alizarin, atranorin, orcein, myricetin, luteolin, quercetin, rhamnetin, emodin, crocin, curcummin, kaempferol, indigotin and indirubin - were tested to identify specific fingerprint regions for each dye. In order to assist the interpretation of the vibrational spectra of the samples, computational methods were performed. A typical case study is presented below: threads from an authentic textile, a blue skirt from early 19th century Delsbo parish, were analyzed using FT-Raman spectroscopy. The spectra were then compared with reference spectra. The Raman spectrum of a blue colored linen warp thread is shown together with the spectrum of pure indigotin as a reference (Figure 1). Preliminary results indicate that we are able to identify the main peaks as originating from indigotin in addition background from the linen fibre, suggesting indigo as the dye. Woad was also a common dye during the 18th and 19th century in Sweden [1]. Different from indigo, woad may also contain kaempferol. The comparison with reference spectra however did not yield a match in the fingerprint regions of kaempferol at f.ex. 1188 cm-1 and 1606 cm-1 [2, 3]. Therefore we may exclude woad as an ingredient in the colouring dye of this specific piece of clothing. Historic sources from 18th century usually mention woad as an additional ingredient in the indigo vat to catalyze and help the bacterial fermentation process [4, 5]. During 19th century though, woad is more seldom mentioned as an ingredient and perhaps this is an example of a more modern indigo vat. Other preliminary results shows that almost all pure colouring matters and some of the dyed textile fibres are easy to analyze with FT-Raman. However, it is difficult to analyse red dyes with this method. Furthermore, wool sometimes complicates the analyses. Therefore, we will continue using FT-Raman analyses and the computational models, supplemented with other analytical methods such as SERS and field-free APCI-TOF MS. References [1] Linders, J. Swenska Färge-konst: med Indlandske örter, gäs, blommor, blad, löf, barkar, rötter, wexter och mineraler. Stockholm: Johan Laur. Horrn, Kungliga Antiquit. Archivi Boktr., 1720. [2] Nyström, I. Bonadsmåleri under lupp: spektroskopiska analyser av färg och teknik i sydsvenska bonadsmålningar 1700-1870. Gothenburg Studies in Conservation 29. Göteborgs Universitet: Acta Universitatis Gothoburgensis, 2012. [3] Nyström, I. Spectroscopic analyses of Artists' pigments and materials used in Southern Swedish painted wall hangings from the 18th and 19th centuries. Studies in Conservation. Maney, 2014. [4] Hurry, J. B. The woad plant and its dye. London: Oxford University Press, H. Milford (Repr. ed. Clifton New Jersey: Augustus M Kelley Pubs. june 1973), 1930. [5] Cardon, D. Natural dyes: sources, tradition, technology and science. London, Archetype, 2007. Acknowledgment This work is financially supported by the Swedish Research Council, Vetenskapsrådet
Ingalill Nystrom - One of the best experts on this subject based on the ideXlab platform.
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ft raman analyses of blue dyes stuff common in swedish Folk Art from halsingland during 18th and 19th century
Chemical Science, 2016Co-Authors: Ingalill Nystrom, Susanne Wilken, Jacob ThomasAbstract:The overall aim of this study is to gain a better understanding of the historic use of woad in Sweden in the 18th and 19th centuries. A key question is, whether it is possible to distinguish between indigo from woad and exotic indigo using Raman spectroscopy? Reference samples prepared according to historic recipes using woad, exotic indigo, logwood and brazilwood - were used to dye different textile fibres - cotton, wool and linen. In addition, various reference compounds - indigotin, indirubin, kaempferol, luteolin, 3-hydroxyflavone and tryptanthrin - as well as the ‘flower’ of the woad dye bath were analysed to identify specific fingerprint regions for each compound. Blue threads from four historic textiles - a skirt and three rag balls - from the region of Halsingland were then analysed in comparison to the references. A specific peak at 993 cm-1 was identified in the spectra taken from the flower of the woad vat, which we suggest possibly arises from 3-hydroxyflavone. DSA-ToF-MS analysis suggests flavoneglycosides as possible candidates. However, cellulosic substrates show a broad vibration at 999 cm-1 overlapping the flavone signature, thus rendering it non-diagnostic, but it might be possible to use this peak in Raman analyses supported by mass spectrometry to distinguish between indigo from woad and exotic indigo if the substrate is wool or if it is a pigment. Raman analyses of the historic samples identify the colourants as indigo and possibly woad and logwod mixed with brazilwood.
Nystr\uf6m Ingalill - One of the best experts on this subject based on the ideXlab platform.
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FT-Raman analyses of dyes and lac pigments in Folk Arts and crafts in the interiors of Decorative Farmhouses of H\ue4lsingland, Sweden, UNESCO World Heritage
2015Co-Authors: Nystr\uf6m Ingalill, Wilken SusanneAbstract:This pilot study is about method development using FT-Raman supplemented with computational methods for analyzing dyes and lac pigments used in Folk Art and craft from H\ue4lsingland, Sweden, during the 18th and 19th century. The study is pArt of an interdisciplinary four years long project funded by the Swedish Research Council (Vetenskapsr\ue5det). Conservation scientists, chemists, physicists, conservators, Art historians and ethnologists from different Swedish universities are collaborating to make a holistic approach and material characterization of wall paintings, painted wall-hangings, decorated wooden furniture and patterned textiles in Decorated Farmhouses of H\ue4lsingland, UNESCO World Heritage since 2012. Spectroscopic methods combined with historic sources are used to understand the materials and the context and time when these Artefacts were made. The interdisciplinary collaboration is essential and in this way, new and deeper knowledge of the paint, coatings, painting techniques and dyeing methods in the 18th and 19th century Swedish Folk Art and handicrafts can be obtained. The relevant research questions span over a wide range, for example about the existence and time frame of woad and turkish red dye. Suitable materials for characterization are for example clothing, which are often possible to date historically due embroidered monograms. Therefore, the material characterization of clothing dyes may shed light on the usage and distribution of various Folk Art techniques.In the pilot study we present different historic dyestuff such as safflower, cochineals, madder, turkish red, brazilwood, fustic, birch leaves, weld, turmeric, woad, indigo and indigo carmine - all common in Sweden during this period. The dye references were made according to old Swedish recipes. Different textile fibres - cotton, wool and linen/flax - were dyed. In addition various colouring matters - for example purpurin, alizarin, atranorin, orcein, myricetin, luteolin, quercetin, rhamnetin, emodin, crocin, curcummin, kaempferol, indigotin and indirubin - were tested to identify specific fingerprint regions for each dye. In order to assist the interpretation of the vibrational spectra of the samples, computational methods were performed.A typical case study is presented below: threads from an authentic textile, a blue skirt from early 19th century Delsbo parish, were analyzed using FT-Raman spectroscopy. The spectra were then compared with reference spectra. The Raman spectrum of a blue colored linen warp thread is shown together with the spectrum of pure indigotin as a reference (Figure 1). Preliminary results indicate that we are able to identify the main peaks as originating from indigotin in addition background from the linen fibre, suggesting indigo as the dye. Woad was also a common dye during the 18th and 19th century in Sweden [1]. Different from indigo, woad may also contain kaempferol. The comparison with reference spectra however did not yield a match in the fingerprint regions of kaempferol at f.ex. 1188 cm-1 and 1606 cm-1 [2, 3]. Therefore we may exclude woad as an ingredient in the colouring dye of this specific piece of clothing. Historic sources from 18th century usually mention woad as an additional ingredient in the indigo vat to catalyze and help the bacterial fermentation process [4, 5]. During 19th century though, woad is more seldom mentioned as an ingredient and perhaps this is an example of a more modern indigo vat.Other preliminary results shows that almost all pure colouring matters and some of the dyed textile fibres are easy to analyze with FT-Raman. However, it is difficult to analyse red dyes with this method. Furthermore, wool sometimes complicates the analyses. Therefore, we will continue using FT-Raman analyses and the computational models, supplemented with other analytical methods such as SERS and field-free APCI-TOF MS. References[1] Linders, J. Swenska F\ue4rge-konst: med Indlandske \uf6rter, g\ue4s, blommor, blad, l\uf6f, barkar, r\uf6tter, wexter och mineraler. Stockholm: Johan Laur. Horrn, Kungliga Antiquit. Archivi Boktr., 1720.[2] Nystr\uf6m, I. Bonadsm\ue5leri under lupp: spektroskopiska analyser av f\ue4rg och teknik i sydsvenska bonadsm\ue5lningar 1700-1870. Gothenburg Studies in Conservation 29. G\uf6teborgs Universitet: Acta Universitatis Gothoburgensis, 2012.[3] Nystr\uf6m, I. Spectroscopic analyses of Artists\u27 pigments and materials used in Southern Swedish painted wall hangings from the 18th and 19th centuries. Studies in Conservation. Maney, 2014.[4] Hurry, J. B. The woad plant and its dye. London: Oxford University Press, H. Milford (Repr. ed. Clifton New Jersey: Augustus M Kelley Pubs. june 1973), 1930.[5] Cardon, D. Natural dyes: sources, tradition, technology and science. London, Archetype, 2007.AcknowledgmentThis work is financially supported by the Swedish Research Council, Vetenskapsr\ue5det
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FT-Raman analyses of dyes and lac pigments in Folk Arts and crafts in the interiors of Decorative Farmhouses of Hälsingland, Sweden, UNESCO World Heritage
2015Co-Authors: Nystr\uf6m Ingalill, Wilken SusanneAbstract:This pilot study is about method development using FT-Raman supplemented with computational methods for analyzing dyes and lac pigments used in Folk Art and craft from Hälsingland, Sweden, during the 18th and 19th century. The study is pArt of an interdisciplinary four years long project funded by the Swedish Research Council (Vetenskapsrådet). Conservation scientists, chemists, physicists, conservators, Art historians and ethnologists from different Swedish universities are collaborating to make a holistic approach and material characterization of wall paintings, painted wall-hangings, decorated wooden furniture and patterned textiles in Decorated Farmhouses of Hälsingland, UNESCO World Heritage since 2012. Spectroscopic methods combined with historic sources are used to understand the materials and the context and time when these Artefacts were made. The interdisciplinary collaboration is essential and in this way, new and deeper knowledge of the paint, coatings, painting techniques and dyeing methods in the 18th and 19th century Swedish Folk Art and handicrafts can be obtained. The relevant research questions span over a wide range, for example about the existence and time frame of woad and turkish red dye. Suitable materials for characterization are for example clothing, which are often possible to date historically due embroidered monograms. Therefore, the material characterization of clothing dyes may shed light on the usage and distribution of various Folk Art techniques. In the pilot study we present different historic dyestuff such as safflower, cochineals, madder, turkish red, brazilwood, fustic, birch leaves, weld, turmeric, woad, indigo and indigo carmine - all common in Sweden during this period. The dye references were made according to old Swedish recipes. Different textile fibres - cotton, wool and linen/flax - were dyed. In addition various colouring matters - for example purpurin, alizarin, atranorin, orcein, myricetin, luteolin, quercetin, rhamnetin, emodin, crocin, curcummin, kaempferol, indigotin and indirubin - were tested to identify specific fingerprint regions for each dye. In order to assist the interpretation of the vibrational spectra of the samples, computational methods were performed. A typical case study is presented below: threads from an authentic textile, a blue skirt from early 19th century Delsbo parish, were analyzed using FT-Raman spectroscopy. The spectra were then compared with reference spectra. The Raman spectrum of a blue colored linen warp thread is shown together with the spectrum of pure indigotin as a reference (Figure 1). Preliminary results indicate that we are able to identify the main peaks as originating from indigotin in addition background from the linen fibre, suggesting indigo as the dye. Woad was also a common dye during the 18th and 19th century in Sweden [1]. Different from indigo, woad may also contain kaempferol. The comparison with reference spectra however did not yield a match in the fingerprint regions of kaempferol at f.ex. 1188 cm-1 and 1606 cm-1 [2, 3]. Therefore we may exclude woad as an ingredient in the colouring dye of this specific piece of clothing. Historic sources from 18th century usually mention woad as an additional ingredient in the indigo vat to catalyze and help the bacterial fermentation process [4, 5]. During 19th century though, woad is more seldom mentioned as an ingredient and perhaps this is an example of a more modern indigo vat. Other preliminary results shows that almost all pure colouring matters and some of the dyed textile fibres are easy to analyze with FT-Raman. However, it is difficult to analyse red dyes with this method. Furthermore, wool sometimes complicates the analyses. Therefore, we will continue using FT-Raman analyses and the computational models, supplemented with other analytical methods such as SERS and field-free APCI-TOF MS. References [1] Linders, J. Swenska Färge-konst: med Indlandske örter, gäs, blommor, blad, löf, barkar, rötter, wexter och mineraler. Stockholm: Johan Laur. Horrn, Kungliga Antiquit. Archivi Boktr., 1720. [2] Nyström, I. Bonadsmåleri under lupp: spektroskopiska analyser av färg och teknik i sydsvenska bonadsmålningar 1700-1870. Gothenburg Studies in Conservation 29. Göteborgs Universitet: Acta Universitatis Gothoburgensis, 2012. [3] Nyström, I. Spectroscopic analyses of Artists' pigments and materials used in Southern Swedish painted wall hangings from the 18th and 19th centuries. Studies in Conservation. Maney, 2014. [4] Hurry, J. B. The woad plant and its dye. London: Oxford University Press, H. Milford (Repr. ed. Clifton New Jersey: Augustus M Kelley Pubs. june 1973), 1930. [5] Cardon, D. Natural dyes: sources, tradition, technology and science. London, Archetype, 2007. Acknowledgment This work is financially supported by the Swedish Research Council, Vetenskapsrådet