Abstract
As part of a conservation and restoration intervention, a material study of a folding screen was made, with methods of examination and analysis that aims to clarify its condition, the changes that has undergone and its origin and date of manufacture. Extensive and profound aesthetic and iconographic modifications were found and were identified techniques and materials that point to an Eastern origin, particularly Chinese, in combination with techniques and materials that were not common in the East, but in the West. The mixture of Prussian blue and orpiment used in green areas allowed us to conclude that it is unlikely that the screen was painted before the nineteenth century.
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