| # | Color | Vertical Location | Horizontal Location | Pigments Present |
|---|---|---|---|---|
| 1 | Paper, glue, backing | Bottom | Right | sulfite; mostly softwood bleached sulfite with some hardwood bleached sulfite |
| 2 | White | 1.75” FB | 6’ FR | Lithopone Clay Bone black Titanium dioxide white (traces |
| 3 | Red-orange (heel) | 13.5” FB | 6’ FR | Calcium sulfate Whiting Iron earth (umber) Lithopone Clay |
| 4 | Purple | 4.75” FB | 4.75’ FR | Whiting Lithopone Ultramarine Iron earth Vermilion Clay |
| 5 | Black (signature) | Bottom | Left | Bone black Whiting Titanium dioxide white (probably anatase) Lithopone Calcium sulfate Zinc yellow |
| 6 | Black (grass) | Bottom | 12” FR | Whiting Bone black Lithopone Titanium dioxide white (traces) |
| 7 | Blue-gray (foot) | 8” FB | 11.5” FR | Whiting Lithopone Charcoal black (probably) |
| 8 | Loose particle | Wood particle (artifact) | ||
| 9 | Blue in sky | 4” FT | 8” FR | Whiting Calcium sulfate Prussian blue Charcoal black (probably) Clay |
| 10 | White #2 | 4” FT | 7.5" FR | Calcium sulfate Zinc oxide |
| 11 | Brown | 1.75” FT | 4” FR | Iron earth Whiting Lithopone Clay Titanium dioxide white Bone black |
| 12 | Yellow | 8.25” FT | 1.5” FL | Whiting Iron earth clay |
| 13 | Green Gray | 3.75” FB | 4.5“ FB | Titanium dioxide white (anatase) Whiting Bone black Chrome yellow Ultramarine blue Clay Iron earth |
| 14 | Flesh | 3“ FB | 13.75” FB | Whiting Iron earth Lithopone Clay |
| 15 | Gray | 1.75” FB | 2.5” FL | Calcium Sulfate Whiting Lithopone Bone black Zinc yellow Iron earth (umber) Clay |
| 16 | Scrapings from glass | Sodium chloride Lithopone Iron earth Whiting | ||
| 17 | From tape from glass | Not analyzed | ||
| 18 | Fibers from mat board | Cellulose fibers Clay Sodium chloride | ||
| 19 | Tape from mat board | Carbon Chlorine Titanium dioxide Calcium carbonate Clay (traces) |
Regarding the investigation, in Paris, into the Renoir Pastel Study. The Wildenstein Institute in Paris saw the Pastel Study and requested testing. I was asked to test for the first time since finding the Pastel Study in 1993, in 1999, by Ms. Ruth Legrand of Wildenstein Institute. The McCrone Associates report of data, year 2000, is the first test. Twenty samples of pigments were taken in New York City and brought to Chicago for testing. Here is a page of the McCrone data of pigments with five dots on the right side of the sheet indicating the places black restoration was found on the very edges of the pastel. Referring to the homepage image of the Pastel Study for the Grand Bathers, you can see there is a black going around the very edge of the picture. We know that this black is not a matt burn because matt burns are brown, and the pigment data shows a different black was used on the edge only than the rest of the Pastel Study. The restored edge showed mixed black bone and titanium pigment, dated the 1930s. The main body of the Pastel Study has black, but it is charcoal. The main body of the Pastel Study consists only of materials available in the late 19th century, while the restoration of the edges consists of materials dated 1940, available only after 1930.
McCrone also discovered lithopone pigment in the Pastel Study, a white pigment commonly used during
Renoir’s time, as per Smithsonian Magazine.
Samples from the outside on the framing glass were salty sea air, from where the Pastel Study had been stored in Florida from 1965 to 1993.