Search

International audience

The production of goldwork in Northwest Iberia in the Bronze Age was approached in this work by studying seven bracelets and two sheet collars (gargantilha de tiras) from different sites located in Galicia (Spain) in the collection of the Provincial Museum of Lugo. Among the studied objects are the two sheet collars and one bracelet that constitute the Treasure of Monte dos Mouros and the two bracelets from the Treasure of A Urdineira. The in-situ study has included the observation of the manufacture details of the objects under a stereomicroscope and the determination of their elemental composition using an in-house built portable X-ray fluorescence spectrometer. Data obtained provided new insight into the objects, revealing the use of traditional Bronze Age technologies and for some of them new manufacturing details. One of the bracelets from A Urdineira has a two-phase decoration and signs of wear, unlike the necklaces from Monte dos Mouros, which have no signs of wear. To put the objects in their context and shed new light on questions related to the chronology of some of them, the elemental compositions obtained are compared with data published for other gold objects from Galicia. This comparison shows the regular use of native gold as well as the use of intentional gold alloys whose composition indicates two different (possibly chronological) types of production.

International audience; Fifteen gold miniatures in the collection of the MUSEF (La Paz) of types and dimensions consistent with bells and ceremonial cups (keros) produced during the Tiwanaku and Inca periods, were analysed in-situ using portable equipment to investigate the technologies and alloys employed. It was shown that at least two techniques of construction were used: one that is expected for Andean bells (by joining two gold sheets) and another that is expected for keros (by raising one gold sheet). One incomplete specimen was shown to be a broken miniature kero. Others, supposedly bells, with the same shapes, dimensions, and elemental compositions could have originally belonged to sets. The bodies and bases of the majority of the objects have different compositions, which are quite variable (10–63 wt% Ag and 0.5–5.5 wt% Cu), but within the range of alloys used by the Incas and of the few gold objects related to the Tiwanaku culture analysed so far. By comparison with gold grains from the Bolivian Cordillera mines, we suggest that the bells and keros containing more than 25 wt% Ag are made from artificial alloys. The others could have been made from either artificial or natural alloys, because only the Ag contents of some specimens match the fineness of gold grains from deposits situated in the Lake Titicaca area. Nevertheless, the Cu contents, being much higher in the objects than in the gold grains, could indicate that artificial alloys were more regularly produced.

To gain further insight into the use of native gold and intentional gold alloys during the Bronze Age in Northwest Portugal, jewellery in the collections of three Portuguese museums was studied using an in-house built portable X-ray fluorescence spectrometer. Among the analysed objects are the Late Bronze Age bracelet from Monte Airoso (Viseu) and the Iron Age tubular bracelet from Regoufe (Aveiro). To shed more light on the manufacture of gold bracelets, have also been analysed all the components (bracelets, wires and bands) of the hoard of Arnozela (Braga), so far incompletely studied. The results obtained show that from the Middle Bronze Age onwards gold containing 8-11 wt.% silver is used, to which gradually increasing amounts of copper seem to have been added over time. These results support a heterogeneous chronology for the components of the hoard of Arnozela and show that the bracelet from Monte Airoso is made from an intentional gold alloy used in the Portuguese area during the Late Bronze Age. On the contrary, the bracelet from Regoufe is made from native gold without addition of copper. This could indicate that at least during a certain period the goldsmiths used both native gold as found and intentional alloys.Two other objects, discussed on the light of the data obtained for the bracelets, complete the study. One of them is one of the two Portuguese Early Bronze Age gold sheet ornaments with cut parallel bands (so-called gargantilha de tiras), found in Braga. Without obvious signs of use-wear like other ornaments of the same type, and made, as expected, with gold hammered into sheet, this ornament is made from an alloy that seems to correspond to a later period using gold from another origin. Finally, the composition of some of the components of the Late Bronze Age-Iron Age string from Malhada (Vila Real), a set of gold decorated plaques made from punched gold sheet by using different and asymmetrical punches, supports the addition of small amounts of copper to gold to produce intentional alloys.

Este trabajo presenta una visión general del significado e importancia que tuvieron las narigueras en las culturas peruanas precolombinas; asimismo las relaciona con las narigueras colombianas y mexicanas, y también nos introduce a su simbología. A partir de los ejemplares conocidos, se ha destacado la variedad de colores utilizados en su fabricación y, por tanto, la diversidad de tecnologías utilizadas. Para lograr un primer acercamiento a estas tecnologías, un corpus de 39 narigueras procedentes de distintas colecciones peruanas correspondientes al Periodo Intermedio Temprano (200 a. C.-600 d. C.) se analizó por medio de microscopia óptica y espectrometría de fluorescencia de rayos X por dispersión de energía con un equipo portátil. Con base en los resultados obtenidos, y por comparación entre los porcentajes de plata, oro y cobre contenidos en las aleaciones de las narigueras bicolores y monocolores, fue posible deducir cómo fueron elaboradas. Ce travail donne un aperçu de l’importance et de la signification des anneaux de nez (narigueras) pour les cultures précolombiennes du Pérou. Nous avons associé ces nariqueras à celles produites en Colombie et au Mexique et discuté de leur symbologie. À partir des exemplaires connus, nous avons mis en évidence la variété de leurs couleurs et, par conséquent, la diversité des technologies utilisées pour leur fabrication. Pour une première approche de ces technologies, 39 narigueras appartenant à plusieurs collections péruviennes, datées de l’Intermédiaire Ancien (200 av. J.-C.-600 apr. J.-C.), ont été étudiées par microscopie optique et spectrométrie de fluorescence X à dispersion en énergie, avec un équipement portable. En utilisant les données obtenues, et par comparaison entre les quantités d’argent, d’or et de cuivre dans les alliages, nous avons pu établir l’utilisation de différentes technologies pour la production de narigueras à une ou deux couleurs. This work provides an overview of the importance and meaning of nose rings (narigueras) for the Pre-Columbian cultures of Peru. We related these ornaments with the nose rings produced in Colombia and Mexico and discussed their symbolism. Based on the known narigueras, we outlined the variety of their colors and the diversity of technologies employed in their manufacture. In this first approach to this production technology, 39 narigueras in several Peruvian collections, dated to the Early Intermediate Period (circa 200 AD-600 AD), were studied using optical microscopy and energy dispersive X-ray fluorescence spectrometry, with a handheld equipment. By using the data obtained, including the silver, gold and copper amounts in the alloys, we establish the use of different technologies for the production of both the single-color and the bicolor narigueras.

International audience; "The Inca metalwork collection held at the Musée du quai Branly - Jacques Chirac (Paris) developed in the 19th century through the activities of varied travelers and collectors. The formal, stylistic and material variety of the miniature figurines in gold, silver and copper raises questions about their cultural attribution and in some cases their authenticity. Their contextual study, as well as the analysis of their typological, technological variety and material composition, provide us with information on the production of these figurines during the Inca period, and during the periods following the Spanish conquest, from the 16th to the 19th century." (source éditeur); "La colección de orfebrería inca del musée du quai Branly - Jacques Chirac (París) fue constituida en el siglo XIX como resultado de la recolección o de las compras realizadas por diversos viajeros y coleccionistas. Esta se compone de estatuillas en miniatura de oro, plata o cobre, cuya variedad formal, estilística y material interroga tanto su atribución cultural como la autenticidad de ciertos ejemplares. El estudio contextual, así como el análisis de su variedad tipológica, tecnológica y de sus aleaciones, proporciona información sobre la producción orfebre de esas piezas durante el Incanato y en los períodos posteriores a la conquista española, del siglo XVI al siglo XIX." (source éditeur); "La collection d’orfèvrerie inca conservée au musée du quai Branly - Jacques Chirac (Paris) fut constituée au XIXe siècle comme fruit de la collecte et des achats réalisés par voyageurs et collectionneurs. Elle se compose de figurines miniatures en or, argent ou cuivre, dont la diversité formelle, stylistique et matérielle renvoie à l’attribution culturelle et à l’authenticité de certains spécimens. L’étude contextuelle, ainsi que l’analyse de la variété typologique, technologique et des alliages nous fournit des informations sur la production orfèvre de ces pièces produites à la période inca, puis aux périodes ayant succédé à la conquête espagnole, du XVIe au XIXe siècle." (source éditeur)

The hollow silver male miniature figurine from National Museums Scotland is one of the tallest specimens made in precious metals attributed to the Incas. In spite of showing the expected characteristics of this type of Inca production for ritual offerings —regular proportions and standing pose, representation of its gender, bulging cheek associated to coca leaves chewing and elongated earlobes— this figurine differs from the regular figurines by the form of the top of its head. In addition, the skilled decoration includes details such as well portrayed feet. The technologies and the alloy employed in its manufacture were examined using a stereo microscope and by non-destructive X-ray fluorescence analysis. Comparison between this figurine with the hollow silver male figurines of equivalent stature and typology kept at Dumbarton Oaks Research Library and Collection and Museum of America shows that they are all made with the same technology and by employing silver alloys with copper contents below 0.5%. These alloys are richer in silver than the majority of the alloys employed to fabricate normal Inca hollow figurines of known provenance or from other museum collections. La estatuilla miniatura en plata laminada perteneciente al National Museums Scotland es uno de los ejemplares en metal precioso de mayor tamaño atribuido a los incas. A pesar de tener las características esperadas para ese tipo de producción inca —proporciones y postura regulares, representación del sexo, la protuberancia de la bola de hojas de coca y los lóbulos de oreja alargados—, esta estatuilla difiere de las estatuillas más típicas por la forma de la parte superior de su cabeza. A esto se suma la calidad de su decoración, que incluye detalles como la representación realista de los pies. Las tecnologías y aleaciones utilizadas en la fabricación de la estattuilla fueron determinadas por microscopia óptica y fluorescencia de rayos X. La comparación de los resultados obtenidos con los que fueron publicados sobre tres otras estatuillas en plata laminada de tamaño y tipología similares, pertenecientes al Dumbarton Oaks Research Library and Collection y al Museo de América, muestra que todos los objetos fueron fabricados con la misma tecnología y con aleaciones de plata que contienen concentraciones de cobre inferiores a 0,5%. Estas aleaciones contienen más plata que la mayoría de las aleaciones empleadas en la fabricación de las estatuillas incas tradicionales cuya proveniencia es conocida o provienen de otras colecciones de museo. La figurine miniature creuse en argent conservée au National Museums Scotland est un des plus grands spécimens en métal précieux attribué aux Incas. Malgré la présence des caractéristiques espérées pour ce type de production inca dédié à usage rituel —proportions et posture régulières, figuration du sexe, protubérance évoquant la mastication de feuilles de coca et lobes d’oreilles étirés— cette figurine se singularise par la forme atypique de son couvre-chef. À ce fait vient s’ajouter la très fine décoration qui inclut des détails comme la représentation très réaliste des pieds. Les technologies utilisées dans sa fabrication ainsi que les alliages ont été déterminés au moyen de la microscopie optique et par la spectrométrie de fluorescence à rayons-X. La comparaison des résultats obtenus avec les données publiées pour trois autres figurines creuses en argent de même taille et de même typologie, appartenant à la Dumbarton Oaks Research Library and Collection et au Museo de América, montre que tous ces objets ont été fabriqués avec la même technologie, à partir d’alliages d’argent qui contiennent des concentrations de cuivre inférieures à 0,5%. Ces alliages sont plus riches en argent que la majorité des alliages employés dans la fabrication de figurines creuses inca dont la provenance est connue ou qui appartiennent à d’autres collections muséales.

International audience; The jewellery from tomb 124 at Riqqa, consisting of one pectoral and one winged beetle in gold and cloisonné work, one gold shell pendant decorated with wires and granulation, and one hollow gold amulet in the form of god Min, was analysed by handheld X‐ray fluorescence and scanning electron microscopy with energy‐dispersive X‐ray spectroscopy. This group of jewellery, dated to the second half of the 12th Dynasty (c. 1900–1840 B.C.), was excavated inside the coffin of an adult male, which had been crushed after burial by the collapse of the chamber roof during an episode of looting. Both the male and the looter's body were found inside the chamber, evidencing that the group of jewellery was intact. Despite having been highly restored in the past, as referenced in the correspondence between the excavator Flinders Petrie and the curators of the Manchester Museum, it could be shown that the jewellery was produced using Ag‐rich electrum alloys containing platinum group element inclusions that indicate the use of alluvial gold. The analysis of some joins has confirmed the use of hard‐soldering, with solders obtained by addition of Cu to the base‐alloy. Data obtained for the jewellery of tomb 124 were compared with data previously obtained for tomb 296, also excavated at Riqqa, but dated to the 18th Dynasty. The comparison demonstrates the continuity of the workshop traditions in one location between the Middle Kingdom and the New Kingdom but also reveals discrepancies in the alloys employed in those two periods.

The gold jewellery in the collection of the Department of Egyptian Antiquities of the Louvre Museum bearing the names of Queen Ahhotep and King Ahmose I (17th–18th Dynasties, 16th c. B.C.) was analysed using µPIXE, XRF, and SEM-EDS. The items were formed by casting, hammering and rolling, were decorated by chasing, and were mounted using hard-solders obtained by adding copper to the base-alloys. The jewellery bearing the name of Ahhotep is made essentially from cast gold alloys, but the elements of an armband found on the mummy of King Kamose and bearing the name of his brother Ahmose are a skilled goldsmith's work using whitish Ag-rich electrum alloys. The armband and one of Ahhotep's rings with marks of intense wear-use were worn in day-life; the other items could be funerary. The gold employed is alluvial, because the alloys contain PGE inclusions. The composition of the alloys matches the composition of gold grains from the Eastern Desert mines. The analytical data published so far for the scarce Second Intermediate Period jewellery items were compared to the data obtained in this work, showing that the alloys during this period split into two groups: those that are yellowish (containing up to 99 wt% Au) and those that are whitish (containing more than 20 wt% Ag). All the items with marks of intense wear-use except one are contained in the second group. Among them, the armband bearing the name of King Ahmose that is inscribed with the hieroglyphic sign of the moon in its oldest written form. As this change occurred under Ahmose I, it suggests that new and old objects coexisted during that difficult period of struggles in Egypt. Gold jewellery and weapons recovered during the campaigns against the Hycsos, leaded by King Kamose, Queen Ahhotep and King Ahmose, could have also been recycled in Egyptian workshops. This could justify the presence of Os-Ir-Ru-Pt inclusions in the two items with marks of intense wear-use, instead of the Ru-Os-Ir inclusions usually found in Egyptian productions.

International audience; "With the aim of improving limits of detection (LOD) of trace elements in a matrix with adjacent fluorescence energies, a simple double dispersive X-ray fluorescence detection system (D2XRF) was constructed to operate at the beamlines BAMline and the mySpot @ BESSY II. This system is based on the combination of a crystal analyzer with an energy resolving single photon counting pnCCD. Without further collimators, the efficient suppression of the background by the pnCCD and the good energy resolution of the crystal results in improved LOD. In first order reflections, an energy resolution of 13 eV for Cu Kα was reached, and an energy range of 1 keV was covered in one shot.This new system was applied to the detection of platinum (Pt) in gold leaves with a LOD of 0.9 mg/kg, which is the lowest attained by totally non-destructive methods nowadays. The presence of Pt in gilded objects from Abydos and Byzantine mosaics provides vital information, as it indicates the alluvial origin of the gold for these examples." (source éditeur)

El conocimiento actual de la orfebreria inca es limitado. A pesar de los descubrimientos esporadicos de piezas en contexto arqueologico, la gran mayoria de los objetos en oro y plata existentes provienen del proceso de saqueo y de destruccion de tumbas, templos y santuarios de altura, consecutivos a la conquista espanola, careciendo de documentacion contextual. De hecho, su funcion se ha muchas veces perdido, desconociendose su nivel de representatividad en el marco de la produccion orfebre i...

Gold alloys and silver alloys have always been widely employed in the production of significant objects. With high reflectivity, precious metals are perceived as both materials and colours, and can be skilfully combined to produce metallic polychrome effects. Because their structure and composition contain information on their manufacture, use, disclaim and degradation, items in gold and in silver enclose major information on the technologies employed by past societies and on exchange networks. This information can be acquired using appropriate analytical protocols, established according to the nature of the query and the characteristics of the objects.By using physicochemical techniques, it is possible to identify the technologies, materials and tools used by the artisan and, in particular cases, to situate the sources of raw materials and the workshops producing the objects, as well as to follow the trade routes. The aim of this work is to outline major achievements in the study of goldwork and silverwork based on the different physicochemical methods that are available, and to refer the analytical difficulties that have to be faced when studying objects made from precious metals. Based on several examples, three topics are addressed. The first concerns the major role of the techniques of exam when describing shaping, decorating, assembling and finishing; the second considers the search for metallic polychrome effects in some cultural areas; and the third discusses the challenging question of fingerprinting. A fourth section is dedicated to a short reflection on the difficulties related to the identification of the atmospheric corrosion mechanisms of precious metals.

In 2002, excavations carried out by Marie-Cécile Truc (Inrap) at Saint-Dizier led to the discovery of four graves of exceptional wealth, containing a young woman, two men and a horse, dated to c. 525-550 AD. Dressed and adorned with numerous jewels, the young female was laid in a coffin upon which were placed vessels in glass, copper alloy goblet and ceramic. Each male had been buried in an excavated funerary chamber, built within an oak frame. They were laid in their coffins along with their personal clothing, including a ceremonial sword with two rings added to the pommel. The larger weapons (throwing axes, shields, lances and angons) as well as various utensils were placed either on the coffins or in the other parts of the funerary chamber. Finally, few meters away from this group of human burials, a horse had been deliberately buried in a pit. The horse burial contained no objects, but parts of a harness found in one of the male burial suggest that the horse may have belonged to the deceased.These graves exhibit characteristics – Morken-type chambers, swords with pommel rings, and the horse burial – which are significantly different from the funeral rites usually observed in the region. Indeed, most of the objects found at Saint-Dizier have distributions that are mainly centered in regions further to the north that were under Frankish control during the 6th century AD. All of these aspects indicate that the graves at Saint-Dizier can be linked to the archaeological phenomenon of the so-called ‘Chiefs’ graves of the beginning of 6th century. This phenomenon is represented by about fifty wealthy male burials – usually associated with equally wealthy female burials – which are characterized by a high level of similarity to each other both in the funeral rituals and in the arrangement of the deposits. The geographical locations of these burials illustrate the extent of Frankish expansion, leading some archaeologists to suggest that the elite who were buried in such splendour must have played a role in the conquest of Gaul by Clovis and his descendants.Were the buried people in Saint-Dizier Franks? This is not necessarily so much an ethnic question as one of social and political identity. The opulence and the ritual of these burials reflects a specific material culture that is a departure from what is usual in the surrounding cemeteries of the region. This shows a clear intention to demonstrate the adherence of the deceased to an elite or high social rank, following a very precise style of inhumation. This style is particularly found in the territories that fit closely with the edges of the first Frankish kingdoms from the end of the 5th to the 6th century AD, En 2002, des fouilles menées par Marie-Cécile Truc (Inrap) à Saint-Dizier ont permis la découverte de trois tombes d’une richesse exceptionnelle – une femme, deux hommes et un cheval – datées du deuxième quart du VIe siècle. Ces tombes présentent des caractéristiques qui tranchent avec les rites funéraires habituellement observés dans la région : chambres de type Morken, inhumation de cheval, épées à anneaux, etc. Ces éléments incitent à rattacher les tombes de Saint-Dizier au faciès archéologique des tombes dites « de chefs francs » du début du VIe siècle, interprétées comme des témoins archéologiques de l’expansion franque. Les inhumés de Saint-Dizier sont-ils des Francs émigrés ou bien des Gallo-Romains de souche s’étant élevés dans la hiérarchie guerrière et assimilés aux coutumes franques ? La question ne se pose pas forcément en termes ethniques mais plutôt en termes d’identité sociale et politique. Le faste et le rituel de ces inhumations reflètent une culture matérielle particulière et révèlent la volonté de mettre en valeur l’appartenance de ces défunts à une élite sociale qui suit une mode bien précise dans la mort.

Twenty of the eighty-two jewels created by Rene Lalique, one of the most representative artists of the Art Nouveau movement, nowadays in the collection of the Calouste Gulbenkian Museum (Lisbon), were studied using mobile XRF, optical microscopy, and digital radiography to characterise the materials and identify the fabrication techniques. The jewellery is often a gold, sometimes patinated, support where more or less transparent coloured materials, such as enamels and precious stones, were included. Further information on the decoration techniques was searched using μXRF and μRaman spectroscopy by studying two of the most illustrative items of a polychrome effect search. Data show that metal casting was the main forming technique used by Lalique. The surface was frequently left in as-cast condition. Contrary to what literature refers, the yellow and green-yellow gold alloys employed contain 77 to 83 wt% Au, and the expected presence of Cd was not detected. When black-patinated, the gold surfaces were covered with an artificial layer that could be estimated to be in the order of 70–80 μm thick. This layer consists of a mixture of Ag and Cu sulphides. In some of the patinated areas, was also identified AgCl resulting from a corrosion process. As expected for 19th century enamels, the vitreous matrix is a silica-alkali glass containing Na 2 O and PbO. Lead-arsenic compounds have served as both opacifiers and white colouring materials. Data suggest that blue was obtained with copper and chromate minerals, and pink with iron oxides.

International audience; Sterling silver samples, prepared to simulate cultural heritage surfaces, were subjected to accelerated ageing tests through exposure to sulphide containing environments. Data obtained by X-ray diffraction, ultraviolet-visible spectrophotometry, contact angle goniometry, ellipsometry and scanning electron microscopy revealed, contrarily to what has been suggested, that the colour of corroded surfaces is related to the thickness of the corrosion layer and to the multi-layer structure of various corrosion products. At the early stages of corrosion, Cu prevails over the Ag compounds. In subsequent stages, AgCuS complexes were also detected. Ag2S is the prevailing corrosion product after longer periods of time.

A group of Bronze Age and Iron Age gold torcs and earrings from the Iberian Atlantic facade, several with tarnishing, are studied with different X-ray-based techniques, including portable devices for in situ analysis. The construction of the complex objects is discussed, and information on the evolution of the alloys is provided. By comparing the elemental composition of the analysed objects with published data for Bronze Age and Iron Age jewellery from the Portuguese area and with data obtained and published for Chalcolithic objects from the Iberian area, the changes in gold supplies could be discussed, and this has led to suggest changes in the chronological attribution of three torcs, on the reuse without melting of one pair of earrings and on the origin of the so-called gold ingots. The analysis of tarnished areas of the torcs and the earrings showed the presence of distinct corrosion products due to atmospheric corrosion, which could be in part identified. Copyright © 2015 John Wiley & Sons, Ltd.

International audience; "Six figurines and seven miniature tupus from ritual sacrifices and offerings, made from silver alloys and gold alloys exist in the collection of the Museo Inka in Cusco (Peru). They are dated to the Inca period and were found in the archaeological site of Chimur, in Chayllabamba, district of Paucartambo. In this article, we present a study of them by optical microscopy and mobile X-ray fluorescence spectrometry (pXRF). This group of objects includes the only known two-coloured anthropomorphic figurine (made from silver and from copper) with provenience. It also includes an undamaged offering consisting of a wood box containing a silver female figurine wrapped in a cloth fastened with two silver tupus. The research results obtained on the figurines’ typology and on the diversity of the technologies and alloys employed for their production are discussed, as well as the homogeneity of the tupus production." (source éditeur); "En el trabajo se describen los estudios realizados por microscopía óptica y fluorescencia de rayos X (FRX) portátil a seis estatuillas y siete tupus miniatura, objetos inkas de sacrificios rituales, ofrendas en aleación de plata y en aleación de oro, provenientes del sitio arqueológico de Chimur, en Chayllabamba, provincia de Paucartambo; es parte de la colección del Museo Inka del Cusco (Perú). Este conjunto incluye la única estatuilla antropomorfa bicolor de proveniencia conocida (elaborada en plata y cobre) y una ofrenda intacta presentada en una caja de madera, conteniendo una estatuilla femenina en plata, envuelta en textiles prendidos con dos tupus de plata. Los resultados registrados sobre la diversidad tipológica de las estatuillas, la diversidad de las tecnologías y de las aleaciones empleadas por los orfebres en su elaboración son discutidos, así como la homogeneidad observada en la elaboración de los tupus." (source éditeur); "Six figurines et sept tupus miniatures destinés aux rituels de sacrifice et aux offrandes, en alliage d’argent et en alliage d’or, de la collection du musée Inka de Cusco (Pérou), attribués à la période Inca et provenant du site archéologique de Chimur, à Chayllabamba, province de Paucartambo, sont étudiés par microscopie optique et spectrométrie par fluorescence aux rayons X (FRX) portable. Cet ensemble comprend la seule figurine anthropomorphe bicolore d’origine connue (réalisée en argent et en cuivre) ainsi qu’une offrande intacte constituée d’une boîte en bois contenant une figurine féminine en argent entourée de textiles retenus par deux tupus en argent. Les résultats obtenus sur la diversité typologique des figurines et sur les technologies et alliages employés par les orfèvres dans la fabrication des figurines sont discutés, ainsi que l’homogénéité de production des tupus." (source éditeur)

International audience; The corrosion of copper and silver in sulphide environments was assessed by several analytical techniques to investigate the influence of each one on the corrosion of sterling silver. The surface colour changes with the immersion time due to the formation of corrosion products composed of particles with distinct sizes and shapes and the consequent layer thickening. Ag 2 S is the main corrosion product of silver. At early stages of corrosion, Cu develops Cu 2 O and Cu 2 S, and later Cu 2 O again. After the corrosion of sterling silver, pure Cu and Ag are compared, and the predominant influence of Cu at the first stages may be suggested whilst Ag mainly contributes to longer corrosion stages. The layer-by-layer corrosion structure observed for the sulphidation of sterling silver was not observed for its constituent elements.

Submitted by Paula Candeias (paula.candeias@lneg.pt) on 2013-03-06T16:20:32Z No. of bitstreams: 1 ABarreiros_NuclearInstrumentsMethods.pdf: 199882 bytes, checksum: 8fc037ae8bc2d1745459bbc56778280f (MD5) Approved for entry into archive by Paula Candeias (paula.candeias@lneg.pt) on 2013-03-06T16:21:16Z (GMT) No. of bitstreams: 1 ABarreiros_NuclearInstrumentsMethods.pdf: 199882 bytes, checksum: 8fc037ae8bc2d1745459bbc56778280f (MD5) Made available in DSpace on 2013-03-06T16:21:17Z (GMT). No. of bitstreams: 1 ABarreiros_NuclearInstrumentsMethods.pdf: 199882 bytes, checksum: 8fc037ae8bc2d1745459bbc56778280f (MD5) Previous issue date: 2013

Fingerprinting ancient gold work requires the use of nondestructive techniques with high spatial resolution (down to 25 μm) and good detection limits (micrograms per gram level). In this work experimental setups and protocols for synchrotron radiation induced X-ray fluorescence (SRXRF) at the BAMline of the Berlin electron storage ring company for synchrotron radiation (BESSY) in Berlin for the measurement of characteristic trace elements of gold are compared considering the difficulties, shown in previous works, connected to the quantification of Pt. The best experimental conditions and calculation methods were achieved by using an excitation energy of 11.58 keV, a silicon drift chamber detector (SDD) detector, and pure element reference standards. A detection limit of 3 μg/g has been reached. This newly developed method was successfully applied to provenancing the Xiongnu gold from the Gol Mod necropolis, excavated under the aegis of the United Nations Educational, Scientific and Cultural Organization (UNESCO). The composition of the base alloys and the presence of Pt and Sn showed that, contrary to what is expected, the gold foils from the first powerful empire of the steppes along the Great Wall were produced with alluvial gold from local placer deposits located in Zaamar, Boroo, and in the Selenga River.

Fifty-eight gold leaf tesserae from eight archaeological sites situated in the Byzantine Empire and two Early Islamic (one in medieval Palestine), covering the period that goes from the 4th c. to the 12th c., were analysed by EPMA, SEM-EDS and PIXE-PIGE to determine the composition of both the glass and the gold leaves. The good match until the 6th c. between circulating monetary alloys and the gold leaf compositions together with the type of glass used, provided criteria that can be used to date the tesserae fabrication. The data obtained allow newly produced tesserae to be distinguished from re-used ones. Because after the 7th c. the circulation of gold in the Byzantine Empire was less controlled, the same relationship is harder to establish. The results suggest the existence of workshops in the Eastern and Western part of the Mediterranean and a more advanced technology to manufacture a palette of glass colours for gold leaf tesserae in the Eastern region.

International audience; "Metals held important symbolic and political values for the indigenous communities of the Caribbean islands. However, metal objects are not abundant in indigenous archaeological sites, and their study has hitherto been very limited. This paper presents the results of the first analytical programme focused on metal artifacts recovered in a range of Taíno sites in Cuba, chronologically covering the periods before and after contact with Europeans. Our aims were: (a) to identify metallurgical traditions related to a diversity of cultural or learning backgrounds; (b) to investigate the origins of different metal artifacts found in Cuba, as a proxy to reconstruct patterns of exchange and interaction among indigenous communities and between these and Europeans; and (c) to approach the meaning and symbolism of different metals by considering their contexts of appropriation and use. The techniques employed included optical microscopy, SEM–EDS, pXRF and PIXE. The results allow a diachronic picture of the procurement, transformation, use and symbolism of metals in Cuba with broader implications for Caribbean archaeology. We reveal culture-specific Taíno choices in their interaction with materials and value systems from continental America and Europe. We also discuss the selective appropriation, recontextualization and meaning of different metals in the indigenous cultures." (source éditeur)

Four hundred and sixteen silver coins stemming from the Ottoman Empire (16th and 17th centuries) were analyzed to confirm the fineness of the coinage as well as to study the provenance of the alloy used for the coins. As most of the coins showed the typical green patina on their surfaces due to corrosion processes that have led to the depletion of copper in the near surface domains of the silver coins in comparison to their core composition, small samples had to be taken, embedded in synthetic resin, and cross sectioned to investigate the true-heart metal composition. μ-synchrotron micro X-ray fluorescence analysis and μ-proton-induced X-ray emission were applied to determine the silver contents as well as the minor and trace elements. The type of the alloy was investigated as well as if coins minted in different locations demonstrated homogeneous traits concerning the predominant impurities (Au and Bi), which could suggest a common ore. Finally, energy-dispersive microanalysis in a scanning electron microscope was applied to study the homogeneity/heterogeneity of the coins and the presence of surface enrichments and to explain differences between the μ-synchrotron micro X-ray fluorescence analysis and μ-proton-induced X-ray emission measurements concerning the main component. In general, the silver content of the analyzed specimen varies between 90 and 95%. These outcomes have not supported the historical interpretations, which predict that during the period studied, a debasement of approximately 44% of the silver content of the coins should have occurred. Copyright © 2012 John Wiley & Sons, Ltd.

A set of Mapuche–Tehuelche composite silver jewellery items, produced in the 19th century and collected in a same indigenous camp in 1896, belonging to the La Vaulx's collection held at the Musee du Quai Branly (Paris), was observed by optical microscopy, scanning electron microscope and X-radiography, and analysed by PIXE with a 3-MeV external proton micro-beam. We aimed to check if these jewels used daily by women evolved during their owners' lifetime, through the analysis of the alloys employed in their making and the silversmith's technologies. Results showed that the jewels were manufactured by different silversmiths, yet using the same workshop traditions. Silver-based alloys of different compositions were identified. The presence of high Zn and Ni contents in many parts of certain items denotes the use of nickel silver alloys not by direct use of coins and native metals as expected but by remelting and reuse of coins and objects. Copyright © 2012 John Wiley & Sons, Ltd.

Four hundred sixteen silver coins stemming from the Ottoman Empire (16th and 17th centuries) were analyzed in order to confirm the fineness of the coinage as well as to study the provenance of the alloy used for the coins. As most of the coins showed the typical green patina on their surfaces due to corrosion processes which have led to the depletion of copper in the near-surface domains of the silver coins in comparison to their core composition, small samples by cutting splinters from the coins had to be taken, embedded in synthetic resin and cross-sectioned in order to investigate the true-heart metal composition. The type of the alloy was investigated as well as if coins minted in different locations demonstrated homogeneous traits concerning the predominant impurities which could suggest a common ore. Several X-ray based techniques (μ-XRF, μ-SRXRF and μ-PIXE) could be applied in order to determine the silver contents as well as the minor and trace elements. Finally, SEM/EDX was applied in order to study the homogeneity/heterogeneity of the coins and the presence of surface enrichments. In general, the silver content of the analyzed specimen varies between 90% and 95%. These outcomes have not supported the historical interpretations, which predict that during the period studied a debasement of approximately 44% of the silver content of the coins should have occurred.

We report the results of an analytical investigation on 416 silver-copper coins stemming from the Ottoman Empire (end of 16th and beginning of 17th centuries), using synchrotron micro X-ray fluorescence analysis (SRXRF). In the past, analyses had already been conducted with energy dispersive X-ray fluorescence analysis (EDXRF), scanning electron microscopy with energy dispersive X-ray spectrometry (SEM/EDX) and proton induced X-ray emission spectroscopy (PIXE). With this combination of techniques it was possible to confirm the fineness of the coinage as well as to study the provenance of the alloy used for the coins. For the interpretation of the data statistical analysis (principal component analysis—PCA) has been performed. A definite local assignment was explored and significant clustering was obtained regarding the minor and trace elements composing the coin alloys.

Little is known about goldsmithing during the period of the Great Kushans. In order to undertake a first approach to the technological choices and the gold alloys used in the fabrication of the different parts of Kushan objects, five gold jewellery items from the collections of the National Museum of Antiquities of Tajikistan containing wires and granulation were transported from Dushanbe to Paris to be studied within the European research project “AUTHENTICO” with non-destructive scientific-based techniques at the C2RMF. All the items were found in archaeological excavations carried out in the 1970s in several regions of Tajikistan and were examined by optical microscopy, scanning microscopy, and X-ray radiography. The compositions of the alloys were determined by ion beam analysis (PIXE) at the AGLAE accelerator. Les techniques orfèvres de la période des Grands Koushans sont très méconnues. Afin de décrire les choix techniques de l’orfèvre et comprendre le choix des alliages d’or utilisés pour fabriquer des différentes parties constituant les bijoux, cinq objets d’orfèvrerie de la période Kouchane, appartenant aux collections du musée National des Antiquités du Tadjikistan, ont été transportés de Douchanbe à Paris, dans le cadre du projet européen « AUTHENTICO », pour être étudiés au C2RMF au moyen de techniques scientifiques non-destructives. Tous les objets proviennent de fouilles archéologiques menées dans les années 1970 dans différentes régions du Tadjikistan. Ils ont été observés par microscopie optique, microscopie électronique et radiographie X. Leur composition a été déterminée par analyse par faisceau d’ions (PIXE) à l’accélérateur AGLAE.

In this introduction to volume 33 of ArcheoSciences, we provide a brief overview of the use and abuse of gold over time, and its different aspects, from the mine to the objects, their use, analysis, and restoration. For this purpose, we focus on the papers presented in this volume, which originate from the Workshop AURUM: authentication and analysis of goldwork, organised under the auspices of the EU-DG Research funded project AUTHENTICO. The main aim of this project was to develop tools and expertise for law enforcement agencies to combat illicit trade in antiquities and to fight fraud and forgeries; to do so requires an understanding of the diversity of the cultural, technical and material manifestations of gold artefacts, and their very specific combinations and expressions. Some of the scholarly foundations of this endeavour are illustrated by the selection of the 55 papers, arranged in five topical sections, which are introduced in this text. Dans cette introduction au volume 33 d’ArcheoSciences, nous faisons un bref bilan du us et abus de l’or au long du temps, des divers aspects qu’il peut prendre de la mine à l’objet, et de l’utilisation des objets d’or, de leur analyse et de leur restauration. Ce bilan repose sur les articles présentés dans ce volume, qui émanent du Workshop AURUM : authentification et analyse d’objets en or, organisé sous les auspices du projet AUTHENTICO, financé par le DG-Recherche de la Commission Européenne. Le but principal de ce projet a été le développement d’outils et de compétences pour combattre le trafic illicite d’antiquités et pour lutter contre la fraude et le commerce de faux. Pour atteindre cette fin, il est nécessaire de comprendre la diversité des manifestations culturelles, techniques et matérielles des objets en or et leurs combinaisons et expressions très spécifiques. Quelques uns de ces fondements sont illustrés par les 55 articles, organisés en cinq sections thématiques, qui sont introduits par ce texte.

In 1908, the archaeologist Flinders Petrie discovered a rich intact burial of an adult and child at Qurneh, near Luxor. Stylistically, the burial has been dated to the late 17th Dynasty, in the 16th century BC. The complete burial group came to Edinburgh in 1909. A recent examination of the rings of the necklace found with the adult burial is presented as part of a wider study of the mummy collections of the National Museums Scotland (NMS). The necklace shows sophisticated workmanship, with 1,699 rings threaded onto four strands, the rings having uniform diameter and thickness, and very few of them showing any visible joints. The necklace rings have been examined by Optical Microscopy, X-radiography, Scanning Electron Microscopy with Energy Dispersive X-ray analysis (SEM-EDS), air-path X-ray Fluorescence (XRF), and proton induced X-ray analysis (micro-PIXE). We summarise these findings and propose the method of manufacture. We also describe an experimental attempt to make joint-less rings in order to compare them with the originals. En 1908, l’archéologue Flinders Petrie découvre à Qurneh, près de Louxor, sur la route de la Vallée des Rois, la tombe intacte et richement pourvue d’un adulte et d’un enfant. L’ensemble de la tombe a été stylistiquement daté de la fin de la XVIIe dynastie, xvie siècle av. J.-C., et son contenu fut transféré à Edimbourg en 1909. Dans le cadre d’un projet de recherche sur la collection des momies égyptiennes du Musée National d’Écosse (NMS), le collier trouvé associé à l’adulte a été étudié. Ce collier se compose de 1 699 anneaux enfilés sur quatre rangs, chaque anneau présentant une section circulaire très uniforme avec très peu de joints apparents. Comment ses anneaux ont-ils été réalisés ? Le collier a été analysé par microscopie optique, radiographie de rayons X, Microscopie Électronique à Balayage couplée à un système d’énergie dispersive de rayons X (MEB-EDS), Fluorescence de rayons X (FX) et analyse par faisceaux d’ions (micro-PIXE). Les résultats de cette étude sont présentés et discutés en parallèle avec les résultats d’un travail de recréation expérimental, visant à réaliser des anneaux sans joints apparents.

The casket of Queen Maria Pia of Savoy, belonging to the collection of the Palacio Nacional da Ajuda, contains a set of thirty-three pieces of gold jewellery in the archaeological style created by the Castellani workshop in Rome. This family of jewellers, fascinated by the ancient techniques of gold working, restored but also reproduced several antique pieces, giving rise to the emergence of the so-called ‘archaeological jewellery’, very popular in the 19th century, using characteristic techniques of antique jewellery such as granulation, filigree, micro-mosaic and engraving of stones in intaglio. The main purpose of this paper is to present the results of the analyses of the base metals used in the manufacture of the jewellery and also to identify the production techniques, such as mounting, joining and decoration, used by the Castellani workshop in making the jewellery for the casket of Queen Maria Pia of Savoy. For this purpose, portable equipment of examination and analysis was brought to the museum. The results obtained in situ show the use of standard wires and granules, as well as of three different base alloys. One element of a hairpin pair which appears to have originated from a different production is discussed.

The Phoenician tomb discovered in Kition in 1998 yielded some of the most impressive gold jewellery items recovered by archaeological excavations in Cyprus. Seal finger-rings, lunate earrings, necklace pendants, bracelets and a richly decorated elbow fibula exemplify the goldsmith’s skill in the 8th-7th century BC. The aim of this work is to describe and illustrate the goldsmith’s techniques with low magnification micrographs and to determine the variety in composition of the gold alloys used in the manufacture of 25 items. The study, integrated in the European project AUTHENTICO, was carried out at the National Museum of Archaeology of Nicosia with a porTable video camera equipped with a zoom and a handheld XRF spectrometer. Parmi les objets d’orfèvrerie les plus impressionnants livrés par les fouilles archéologiques menées à Chypre, se trouvent ceux découverts en 1998 dans la tombe phénicienne de Kition. Bagues à sceau, boucles d’oreille, pendants de colliers, bracelets et une fibule à l’arc coudé richement décorée, mettent en évidence la virtuosité de l’orfèvre au viiie-viie siècle av. J.-C. Le but de ce travail est de décrire et illustrer les techniques employées par l’orfèvre et de déterminer la variété des alliages en or employés. L’étude analytique a été réalisée dans le cadre du projet européen AUTHENTICO, au Musée national d’archéologie de Nicosie, à l’aide d’une camera vidéo porTable équipée d’un zoom et d’un analyseur de fluorescence X porTable miniaturisé.

From the study of coins and casted simple objects to intricate jewellery comprising many diverse parts joined together, analytical queries on ancient goldwork concern the description of the manufacturing techniques, the identification of the authenticity and the localisation of the exploited sources of gold. Through the examination of the objects by x-ray radiography and the non-destructive elemental analysis of the gold alloys – by XRF, SEM-EDX, PIXE and SR-XRF, x-ray based techniques have always played an important role in the study of cultural heritage and, in particular, of goldwork. The aim of this article is to give a short overview of the use of the most established scientific-based techniques in the study of goldwork, with special outlining on the limitations, advantages and applications of x-ray based techniques. Two applications illustrate both the potential of examination techniques to identify the authenticity of gold jewellery and the importance of combining examination techniques and elemental analysis to describe the fabrication stages of goldwork. At last, a third example shows the significant socio-economical assumptions developed by determining the characteristic trace elements of gold when coinages are considered. Copyright © 2008 John Wiley & Sons, Ltd.

The analysis by nuclear activation techniques and by inductively coupled plasma mass spectrometry combined with an UV laser of a large number of gold coins issued in the Arab Empire from the seventh to the 12th century ad showed that several different supplying sources were used, according to the region and to the period. The aim of this paper is to point out the circulation of gold in the Near and Middle Eastern mints of the Arab Empire and to make a parallel with the mints’ policies running in the other regions of the Empire, such as North Africa, the Iberian Peninsula and the Sicily. The identification of different gold ores by means of characteristic trace elements indicated recycling of the ancient coinage and, after ad 750, the minting in the entire Arab Empire of different new gold ores: Egyptian type, North Eastern type and West African type. The analysis of a small number of silver coins from the same periods and regions also showed a change in the ore supply after ad 750.

The gold necklace and penannular earrings from tomb 296 at Riqqa, containing the coffins of a female and of a male, the latter a scribe named Beri of the reign of Tuthmosis III (eighteenth Dynasty Egypt), were analysed by PIXE, XRF, and EDS, together with eight penannular earrings from other find-spots of the same period. Analysis of jewellery items from tomb 296 at Riqqa revealed the use of high-purity gold alloys and electrum alloys, while the other earrings investigated were found to be made of electrum with high Ag content. Two earrings conserved in different museums were shown to be originally a pair. PIXE mapping revealed the extensive use of a hard soldering technique for the joints, with the solders being obtained by the addition of Cu to the base alloy. The presence of PGE inclusions indicated the use of alluvial gold, but the variability of their composition could be ascribed to the recycling of gold from different origins, in the case of some objects.

International audience; Previous studies conducted on indigenous jewellery from Patagonia have focused on collections from Araucania (Centre-South of Chile), and to a smaller degree on the 19th-century silver production from the Eastern Andean cordillera. This work presents the results obtained from the study of the silver earrings collected by Henry de La Vaulx in Valentín Saygüeque's camp (1830-1903). Saygüeque was a cacique (chief) renowned for the monetary and jewellery treasure he had accumulated prior to his military defeat of 1882, period during which he led a group of mixed huilliche, pehuenche, pampa and tehuelche origins who controlled the "País de las Manzanas" (the Land of Apples) (province of Neuquén, Argentina). The formal, technological and chemical analysis of the collection kept at the Musée du quai Branly in Paris offers a first summary of a geographically and chronologically contextualized silver production, and provides analytical criteria for the dating of native jewellery.; Los estudios sobre joyería indígena de Patagonia han privilegiado las colecciones procedentes de Araucanía (centro-sur de Chile), considerando en menor escala la producción platera de la vertiente oriental de los Andes en el siglo diecinueve. Este artículo pre-senta los resultados obtenidos del estudio de los aros de plata reunidos en 1896 por Henry de La Vaulx en la toldería del cacique Valentín Saygüeque (1830-1903), famoso por el tesoro monetario y platero acumulado antes de su derrota militar en 1882, cuan-do encabezaba un grupo de orígenes mixtos huilliche, pehuenche, pampa y tehuelche que controlaba el "País de las Manzanas" (provincia de Neuquén, Argentina). El análisis formal, tecnológico y físico-químico de la colección conservada en el Musée du quai Branly de Paris ofrece una primera síntesis sobre una producción platera contextualizada geográfica y cronológicamente, así como criterios analíticos para la datación de la joyería indígena.

International audience; Forty-two mosaic coloured/opaque “glass” tesserae from three sites (Milan, Italy; Durrës, Albania; Hierapolis, Turkey) situated in the Western and Eastern parts of the Roman/Byzantine Empire, dated between the 5th and the 9th centuries, were studied by optical microscopy, SEM-EDX and Raman microspectroscopy in order to investigate the nature of their pigments and opacifiers as well as the microstructure of glass ceramic materials. The Raman signatures of glass matrix and phases dispersed in the soda-lime glassy matrix showed the presence of six opacifiers/pigments. The use of soda ash glass in the tesserae from Durrës (post 8th c.) allows refining the mosaic debated chronology. The use of soda ash matrix glass together with the presence of calcium antimonates (Ca2Sb2O7 and CaSb2O6), pyrochlore solid solution/Naples’ yellow (PbSb2−x−ySnxMyO7−δ) and cuprite (Cu2O) or metallic copper (Cu0) in many samples show the technological continuity in a Roman tradition. However, the presence of cassiterite (SnO2) and quartz (SiO2) in one sample from the beginning of the 5th century, diverging from Roman technology, offers a chronological marker to identify newly (not re-used) produced tesserae.

A new PIXE setup at the external beamline of the AGLAE accelerator is assessed for fast mapping the joining regions and the PGE inclusions of nine Egyptian gold items from the Louvre museum collection, dated to the end of the 2nd Intermediate Period and to the New Kingdom. The setup is composed of a cluster of SDD detectors divided in two “super detectors” dedicated to analyse the matrix and the trace elements. It provides the possibility to realise large and/or fast maps on artefacts by scanning the beam over the sample surface. Different softwares have been developed or updated to visualise, process, and quantify the data. By using this setup, we could determine the elemental distribution of major elements Au, Ag and Cu on the different joining regions, estimate the composition of the brazes, and show that they were produced by adding Cu to the base gold alloy. By fast mapping the PGE inclusions we could reveal a large variety of compositions within a single object. In addition to the expected Ir–Os–Ru system inclusions, we could also show for several inclusions the presence of another element, Pt. For a region where PGE inclusions overlap the joining area we could show that fast mapping allows to determine the compositions of the inclusion, the brazing alloy, and the base-alloy.

Recent results from a three-year multi-disciplinary project on Ancient Egyptian gold jewellery revealed that items of jewellery from the Middle Kingdom to the New Kingdom were manufactured using a variety of alluvial gold alloys. These alloys cover a wide range of colours and the majority contain Platinum Group Elements inclusions. However, in all the gold foils analysed, these inclusions were found to be absent. In this work a selection of gilded wood and leather items and gold foil fragments, all from the excavations by John Garstang at Abydos (primarily from Middle Kingdom graves), were examined using Scanning Electron Microscopy-Energy Disperse Spectroscopy (SEM-EDS), X-Ray Fluorescence (μXRF), Particle Induced X-Ray Emission (µPIXE) and Double Dispersive X-Ray Fluorescence (D2XRF). The work allowed us to characterise the composition of the base-alloys and also to reveal the presence of Pt at trace levels, confirming the use of alluvial gold deposits. Corrosion products were also investigated in the foils where surface tarnish was visually observed. Results showed that the differences in the colour of corrosion observed for the foils are related not only to the thickness of the corrosion layer but also to a multi-layer structure containing the various corrosion products.

Trace elements of ancient gold such as Pt, give fundamental information on the circulation of the metal in the past. In the case of objects from the cultural heritage, the determination of trace elements requires non-destructive point analysis in general. These conditions and the need of good detection limits restrain the number of applicable analytical techniques. After the development of a PIXE set-up with a selective Cu or Zn filter of 75 μm and of a PIXE-XRF set-up using a primary target of As, we tested the possibilities of spatially resolved Sy-XRF to determine Pt in gold alloys. With a Zn filter, PIXE showed a detection limit of 1000 ppm in gold while PIXE-XRF lowers this detection limit down to 80 ppm. This last value being constrained by the resonant Raman effect produced on gold. In order to improve the detection limit of Pt keeping the non-destructiveness and access to point analysis, we developed an analytical protocol for XRF with synchrotron radiation at BESSY II, using the BAMline set-up. The L-lines of Pt were excited by a beam of energy above and below 11.564 keV and measured using a Si(Li) detector with a 50 μm Cu filter. A μ-beam of 100–250 μm2 was used according to the size of the sample. The determination of the Pt content in the samples was carried out by Monte-Carlo simulation and subtraction of Au and Pt spectra obtained on pure standards. The limit of detection for Pt of 20 ppm was determined by using certified standards. The detection limits of a small set of other characteristic elements of gold were also measured using an incident energy of 33 keV.

Described by Petrie as ‘the largest group of goldwork that had left Egypt’, the jewellery from the intact burial of an adult and child discovered at Qurneh in 1908 is the most important group of gold objects excavated in Egypt dating from the 2nd Intermediate Period (c. 1800–1550 BC). This unique collection has been studied using several non-invasive analytical techniques (μPIXE, PIGE, XRF, and SEM-EDS), while calculation of the effective penetration depth values allowed the degree of surface enrichment to be assessed. The most recent results in respect of gold-working techniques are discussed and related to published work on the techniques used in Egypt in the same era and the subsequent era. The data showed, the coexistence, in a single grave, of jewellery with different levels of wear and colours of gold. The extensive use of hard soldering by the addition of copper to the gold-based alloys was also revealed. All the objects presented PGE inclusions implying the use of alluvial gold and/or recycling of ancient alloys made with this type of gold.