A Conversation with Dr. Tom Tague

In the evolving world of art, artifact, and instrument authentication, the integration of hard science has never been more essential. At the forefront of that integration is Dr. Tom Tague, a physical chemist whose career spans more than three decades. Dr. Tague is recognized internationally for his work in applied spectroscopy, conservation science, and materials analysis. After earning his Ph.D. in Physical Chemistry from the University of Utah and completing postdoctoral research at the University of Virginia, he went on to publish over 100 peer-reviewed manuscripts and secure multiple patents in the field. Today, he serves on the Visiting Advisory Committee of the Metropolitan Museum of Art and advises institutions and collectors around the world.

Dr. Tague has built a reputation for applying objective, material-based methods to help authenticate some of the most important artworks and cultural heritage items in existence. His research spans disputed Jackson Pollock paintings, the Salvator Mundi attributed to Leonardo da Vinci, ancient rock art, and now, with the collaboration of Vintage Verified—vintage guitars.

Early Work in Cultural Heritage

Dr. Tague began his work in cultural heritage science in the early 2000s. “I received invitations from leaders in the field to help design and build instrumentation to further some of the cultural heritage research they were doing,” he explained. With a deep foundation in quantum mechanics and the principles of spectroscopy, Tom quickly became a go-to collaborator for institutions needing accurate, non-destructive analysis.

One of the projects he recalls with the most pride is his work at Hueco Tanks ,a state park located in west Texas. “The field trip out to Hueco Tanks was a great project,” he said. Hieco Tanks and the cave present there are home to millennia-old pictographs painted by Indigenous peoples using mineral- and plant-based pigments. Many had been defaced over time by graffiti. “We identified which materials belonged to the original artwork and which were foreign contaminants—while ensuring no damage to the original art.” Over the course of several years, Dr. Tague and the project team completed a full restoration, successfully removing the graffiti and preserving the ancient artwork for future study.

The Salvator Mundi

Tom’s most high-profile contribution to date came with the authentication of the Salvator Mundi, attributed to Leonardo da Vinci. “That painting had been lost for a long time,” he said. “It was recovered, and the owners decided they would like to sell it if possible.” Conservation efforts were led by Diana Modestini, with Nika Gutman Rieppi as principal conservator. Tom was invited into the project by Beth Price, Senior Scientist at the Philadelphia Museum of Art. “Beth asked me to get involved, and I certainly accepted—and the rest, they say, is history.”

Beth, NIka  and Dr. Tague analyzed nine samples taken from the painting, conducting a wide range of spectroscopic studies. “It’s not often you get any kind of access to a Leonardo,” he noted. “So this was a rare opportunity to study his methods and techniques directly.”

The Pollock Project

Tague’s collaboration with fellow Vintage Verified advisor Dr. Gene Hall is a cornerstone of the company’s scientific standard. One of their most significant joint efforts involved authenticating a painting claimed to be by Jackson Pollock. “Gene and I had known each other professionally for more than 20 years,” Tom said. “And the owner, at Gene’s suggestion, contacted me.”

The challenge? Very little scientific data existed on Pollock’s materials. “There’s Dr. Kathy Eriman’s manuscript from Harvard, Rosi’s excellent manuscript and not much else.” So Tague and Hall contacted the curator of the Pollock-Krasner House and Study Center and were granted access to Pollock’s studio. There, they analyzed the paint-splattered floor utilizing non-invasive spectroscopies, identifying 16 to 18 unique pigments used during the creation of his most iconic works. “That’s the smoking gun,” Tague explained. “If those pigments are not on the workshop floor and in the known manuscripts, then it’s unlikely to be a Pollock.”

He emphasized that scientific data complements—not replaces—historical provenance. “If the paint analysis falls in line—if all eight pigments are the right medium and the right pigment—it strongly supports authenticity.” Notably, Pollock often used Duco lacquer, the same industrial paint used by Fender for their custom-color guitars, underscoring the surprising overlap between fine art and American design history.

Guitars and the Scientific Signature

Dr. Tague has been essential in helping Vintage Verified develop its authentication standard for guitars. When analyzing finishes and coatings, he explains, understanding both the medium and the pigment is key. “In your case, analyzing a finish and walking away from it knowing it’s nitrocellulose lacquer doesn’t really help most of the time,” he said. “The important information is what type of nitrocellulose it is, what pigments were used to achieve a certain appearance, etc. There are hundreds of ways to achieve the color blue.”

What really distinguishes a finish, he says, is the formulation. “If you just look at a summation—like x plus y plus z—you can confirm those components are present, but that only tells you so much. If, on the other hand, a manufacturer tended to use a specific ratio—some coefficient times x, another times y, another times z—that gives you a much more discriminating signature. It’s not just that the materials are there, but the proportions in which they appear can tell you something unique.”

A Market Ready for Science

Dr. Tague believes the vintage guitar market is overdue for the same scientific rigor now standard in fine art. “Look at our heritage—the musical heritage in particular. Stradivarius violins are not the only musical instruments of value. If you look at guitars in particular, I think the market has spoken in a major way that these instruments can carry very large values, both financially and culturally.”

Beyond monetary worth, he sees deeper importance. “The value you’re adding in the way of understanding these instruments is not just valuable to collectors; it’s valuable to us as people. I think it’s very important we understand the history of the musical aspect of our culture.”

Science and Collectors

On the parallels between vintage guitars and fine art, Tom is clear. “People collect all kinds of things—Navajo blankets, vinyl albums, whatever it might be. And it’s always about supply and demand. Sometimes items you wouldn’t expect to be valuable turn out to be worth a great deal. Guitars definitely fit that pattern. You can spend a million dollars—or many millions—on a guitar collection. And that’s true for many areas of art as well.”

He also notes that scientific analysis isn’t just for objects under suspicion. “Many art collectors are trying to get this type of analysis done, because they’re curious and want to learn more about this object they own and treasure.”

“If you look at what’s out there,” he adds, “we’re talking about hundreds of billions of dollars in private collections—art, instruments, antiquities—where virtually no scientific analysis has been performed. And in my opinion, virtually everyone who collects would like to have that kind of information. I don’t know anyone who owns something of real value and says, ‘Nah, I’m not interested in learning what it’s made of or how it was created.’ Understanding the materials, the methods, the context—that’s part of what draws a collector to an important object in the first place.”

Looking Ahead

To Dr. Tague, joining Vintage Verified was an obvious choice. “I think what you're doing is revolutionary, really, for the cultural heritage field. I like to think that I'm good at detecting these special opportunities, and I think Gene [Dr. Gene Hall] does, too. Gene feels the same way. We think it's a great opportunity to help you guys be successful.”

He continues, “I think that your success will ultimately be realized as more people understand what you're about. I believe we will find that there's a huge opportunity in this space for growth.”