Detection of acidic paper recovery after alkaline nanoparticle treatment by 2D NMR relaxometry

Cellulose-based artefacts are highly prone to degradation, especially in the presence of acidic compounds, which trigger the depolymerization of cellulose chains and lead to a loss in the original mechanical resistance of the material. Calcium hydroxide nanoparticles dispersed in organic solvent have been recently proposed for the deacidification of cellulose-based artworks. In this work, changes induced on paper by a deacidification treatment, following an acidification bath, were studied by nuclear magnetic resonance (NMR) relaxometry and by the so-called NMR diffraction of water trapped in the cellulose network. The deacidification treatment modifies intrachain and interchain bonds in hydrolyzed and degraded cellulose, leading to a buffered cellulose network configuration, which is similar to that characterizing the untreated reference sample in terms of relaxation parameters. Overall, calcium hydroxide nanoparticles are demonstrated effective in hindering the degradation of cellulose induced by acids and ageing in strong environmental conditions, even from the standpoint of cellulose network arrangement. It is worth noting, too, that the unilateral NMR device used for the relaxation measurements may represent a powerful tool for the preservation of cellulose-based artworks because it allows for the monitoring of the conservation status of cellulose in a completely non-invasive manner.     

Portable Raman monitoring of modern cleaning and consolidation operations of artworks on mineral supports

Any restoration performed on cultural heritage artworks must guarantee a low impact on the treated surfaces. Although completely risk-free methods do not exist, the use of tailor-made procedures and the continuous monitoring by portable instrumentation is surely one of the best approaches to conduct a modern restoration process. In this work, a portable Raman monitoring, combined sometimes with spectroscopic techniques providing the elemental composition, is the key analysis technique in the three-step restoration protocol proposed: (a) in situ analysis of the surface to be treated (original composition and degradation products/pollutants) and the cleaning agents used as extractants, (b) the thermodynamic study of the species involved in the treatment in order to design a suitable restoration method and (c) application and monitoring of the treatment. Two cleaning operations based on new technologies were studied and applied to two artworks on mineral supports: a wall painting affected by nitrate impact, and a black crusted stone (chalk) altarpiece. Raman bands of nitrate and gypsum, respectively, decreased after the step-by-step operations in each case, which helped restorers to decide when the treatment was concluded, thus avoiding any further damage to the treated surface of the artworks.     

Using Non‐Destructive Analysis Techniques to Examine the Artworks of Taiwanese Artist Cheng‐Po Chen (1895‐1947)

This study employed the non‐destructive techniques to analyze and examine the artworks of the Taiwanese artist Cheng‐Po Chen (1895‐1947) for disclosing the damage to Chen's artworks and determine his creation habits. Ten pieces of artworks that required restoration were examined using ultraviolet examination techniques. Based on the differences in their fluorescence characteristics, various parts of these works were shown to have been retouched, thus, original and retouched regions were distinguished. Examining these works using Infrared instrument revealed that Chen did not use charcoal to prepare drafts, and he directly applied oil paint to the canvases. Subsequently, these two examination techniques were adopted to examine sketches. The results showed that residues imprinted on them cause of storage methods were organic materials from charcoal and not carbon granules. The X‐ray examination identified numerous creations beneath the surface of several artworks. The X‐ray fluorescence spectrometer was used for elemental analysis of the pigments. The results corresponded with the pigments listed in Chen's purchase form, thus, we summarized the composition of palettes used by Chen. In general, this study acquired a considerable amount of information from the pigment examinations and established a database of the pigments that Chen commonly employed in his artworks.     

Identification of proteinaceous binders used in artworks by MALDI-TOF mass spectrometry

Proper identification of proteinaceous binders in artworks is essential for specification of the painting technique and thus also for selection of the restoration method; moreover, it might be helpful for the authentication of the artwork. This paper is concerned with the optimisation of analysis of the proteinaceous binders contained in the colour layers of artworks. Within this study, we worked out a method for the preparation and analysis of solid samples from artworks using tryptic cleavage and subsequent analysis of the acquired peptide mixture by matrix-assisted laser desorption/ionisation time of flight mass spectrometry. To make this approach rational and efficient, we created a database of commonly used binders (egg yolk, egg white, casein, milk, curd, whey, gelatine, and various types of animal glues); certain peaks in the mass spectra of these binders, formed by rich protein mixtures, were matched to amino acid sequences of the individual proteins that were found in the Internet database ExPASy; their cleavage was simulated by the program Mass-2.0-alpha4. The method developed was tested on model samples of ground layers prepared by an independent laboratory and then successfully applied to a real sample originating from a painting by Edvard Munch.     

Elemental labeling for the identification of proteinaceous-binding media in art works by ICP-MS

In the history of art, artists have used many different organic compounds to dissolve pigments and apply them onto a support to obtain a paint layer. Proteins were used with success from the Middle Ages up to the Renaissance, and the traditional protein sources were animal parts (skins, tendons and bones) or milk and eggs. Moreover, some of these materials are commonly used as adhesive. In this paper, the first application of the metallomic analytical technique to the identification of proteins in artworks is reported. Samples were derivatized with DTPA/Eu and the derivatization procedure was evaluated by matrix‐assisted laser desorption/ionization time‐of‐flight before high performance liquid chromatography inductively coupled plasma MS analysis. This study has been carried out on laboratory models prepared in‐house for method development, resulting in the correct identification of the different classes of proteinaceous binders typically used. In addition, some unknown paint layer samples have been analyzed demonstrating that the method is applicable to very small sample amounts (0.6 mg), which are compatible with the amount normally available for this kind of analysis. The results obtained demonstrate the effectiveness of the method, suggesting the potential future use as novel diagnostic tool in the scientific study of artworks. Copyright © 2011 John Wiley & Sons, Ltd.     

Laser Induced Breakdown Spectroscopy methodology for the analysis of copper-based-alloys used in ancient artworks

In this paper Laser Induced Breakdown Spectroscopy has been applied for determining the elemental composition of a set of ancient bronze artworks coming from archaeological site of Minervino Murge — Southern of Italy (dated around VII b.C.). Before carrying on the analysis of the archaeological samples, the characterization of the analytical technique has been accomplished by investigating the trueness of the typical assumptions adopted in LIBS, such as Local Thermodynamic Equilibrium, congruent ablation and plasma homogeneity. With this purpose, two different laser pulse durations, 7 ns and 350 fs, have been used. We have focused our attention on LIBS analysis of bronze standards by considering and discussing the bases of both methodology and analytical approach to be followed for the analysis of ancient copper-based-alloy samples. Unexpectedly, regardless from the laser pulse duration, the LIBS technique has shown, by considering an adequate approach on the emitting plasma features, that its peculiarities are anyway preserved so that a fast analysis of ancient copper-based-alloys can be achieved. After verifying the suitability of the methodology, it has been possible to fulfill the typical assumptions considered for the LIBS calibration curves method and use it for ancient bronze artworks analysis.     

Advanced Materials in Cultural Heritage Conservation

Cultural Heritage is a crucial socioeconomic resource; yet, recurring degradation processes endanger its preservation. Serendipitous approaches in restoration practice need to be replaced by systematically addressing conservation issues through the development of advanced materials for the preservation of the artifacts. In the last few decades, materials and colloid science have provided valid solutions to counteract degradation, and we report here the main highlights in the formulation and application of materials and methodologies for the cleaning, protection and consolidation of works of art. Several types of artifacts are addressed, from murals to canvas paintings, metal objects, and paper artworks, comprising both classic and modern/contemporary art. Systems, such as nanoparticles, gels, nanostructured cleaning fluids, composites, and other functional materials, are reviewed. Future perspectives are also commented, outlining open issues and trends in this challenging and exciting field.     

Plastic matters: an analytical procedure to evaluate the degradability of contemporary works of art

The most significant results concerning a chemical study to evaluate the degradability of polymeric components in four contemporary works of art, partially or completely realized in plastics, are presented and discussed in this paper. The procedure applied is mainly based on the use of Fourier transform IR and UV–vis spectroscopies and pyrolysis–gas chromatography/mass spectrometry, and consists of the following steps: (1) compositional analysis of the artworks, with particular attention to components which may have a negative effect on the overall ageing; (2) evaluation of the actual state of conservation; (3) investigation of the accelerated ageing of reference polymer samples; and (4) monitoring of the natural ageing of the artworks. On such a basis, the following could be concluded. Stage Evidence by Loris Cecchini is made of poly(ether urethane) elastomer which contains a high amount of phthalates. Their exudation gives a sticky appearance to the artwork and their removal during ageing is the main cause of the loss of flexibility. The latex used by Andrés Pinal for tailoring Traxe de Home is a natural polyisoprene, whose oxidative degradation accounts for the extensive deterioration and yellowing of the artwork. The plaster sculptures of 3D Bodyscans 1:9 by Karin Sander are coated with an aliphatic epoxy resin. Its oxidation with formation of amides is the cause of the surface yellowing. The adhesive used by Dario Villalba for Tierra, Ladrillo y Agua is a commercial poly(vinyl acetate). Simulated photoageing suggests a fast deterioration due to deacetylation and cross-linking, which possibly is the main reason for the actual detachment of debris from the support.     

Attribution Markers and Data Mining in Art Authentication

Today’s global art market is a billion-dollar business, attracting not only investors but also forgers. The high number of forged works requires reliable authentication procedures to mitigate the risk of investments. However, with the developments in the methodology, continuous time pressure and the threat of litigation, authenticating artwork is becoming increasingly complex. In this paper, we examined whether the decision process involved in the authenticity examination may be supported by machine learning algorithms. The idea is motivated by existing clinical decision support systems. We used a set of 55 artworks (including 12 forged ones) with determined attribution markers to train a decision tree model. From our preliminary results, it follows that it is a very promising technique able to support art experts. Decision trees are able to summarize the existing knowledge about all investigations and may also be used as a classifier for new paintings with known markers. However, larger datasets with artworks of known provenance are needed to build robust classification models. The method can also utilize the most important markers and, consequently, reduce the costs of investigations.     

Identification des colles protéiques présentesdans les œuvres d’art par couplage CG/SMà trappe d’ions

In order to restore artworks, the identification of the organic binders used by the artists for their works is sometimes necessary. A method leading to a fast and effective identification of a very weak quantity of proteins has been carried out by using gas chromatography/mass spectrometry ions trap after hydrolysis and derivatisation by ethyl chloroformate of the binder. It is possible with this method to point out the presence of sturgeon glue in artworks.     

Study of Burseraceae resins used in binding media and varnishes from artworks by gas chromatography-mass spectrometry and pyrolysis-gas chromatography-mass spectrometry

In the present work, a study attempting to characterize the Manila elemi and Mexican copal resins from the Burseraceae family, which are used as components of varnishes and binding media of artworks, has been carried out. A new GC-MS method involving the use of methyl chloroformate as derivatisation reagent has been proposed. A second method which uses pyrolysis-GC-MS and hexamethyldisilazane as derivatization reagent has also been applied. Characterization of the main components of the mono-, sesqui- and triterpenoid fractions occurring in the raw materials has been achieved. Both alpha- and beta-amyrin have been established as the major triterpenoid compounds occurring in these resins together with hop-22(29)-en-3beta-ol, found only in the Mexican copal. Artificially aged samples of Manila elemi and Mexican copal have also been analysed in order to study the stability of the triterpenoid components of the resins and their possible use as marker molecules. The results obtained indicate that these molecules, in particular, alpha- and beta-amyrin undergo oxidation processes during both artificial and natural ageing. Nevertheless, hop-22(29)-en-3beta-ol could be selected as marker compound for Mexican copal. The proposed methods of analysis have been applied to real paint samples extracted from paintings in which Mexican copal was present as the main component of an "oleoresin" binding medium to assess their ability for identifying this product when used in artworks. Satisfactory identification of this resin is obtained by means of GC-MS whereas Py-GC-MS provides, in general, weaker signals for the components of the resin. Additionally, the influence of the pigments present in real samples on the resin ageing process has been considered.     

Library of UV-Vis-NIR reflectance spectra of modern organic dyes from historic pattern-card coloured papers

An accurate characterisation of the organic dyes used in artworks, especially those made of paper, is an important factor in designing safe conservation treatments. In the case of synthetic organic dyes used in modern works of art, for example, one frequently encountered difficulty is that some of these dyes are not still commercially available. Recognizing this problem, the authors of this paper present the results of an analysis of UV-Vis-NIR fibre optic reflectance spectra of 82 samples of dyed paper prepared with 41 dyes. The samples come from a historic book, The Dyeing of Paper in the Pulp, which was published by Interessen-Gemeinschaft (I.G.) Farbenindustrie in 1925. The dyes used in the paper pulp belong to the azo compounds, acridine, anthraquinone, azine, diphenylmethane, indigoid, methine, nitro, quinoline, thiazine, triphenylmethane, sulphur and xanthene classes.     

Identification of complex structures of paintings on canvas by NMR: Correlation between NMR profile and stratigraphy

Paintings on canvas are complex structures created by superimposing layers of different composition. Investigations on the structure of these artworks can provide essential information on their state of conservation, pictorial technique, possible overpaintings, and in planning a proper conservation plan. Standard methods of investigation consist in sampling a limited number of fragments for stratigraphic analyses. Despite the recognized validity of these methods, they are affected by evident limitations. Nuclear magnetic resonance (NMR) profiling, often named NMR stratigraphy, is an NMR relaxometry technique applied by single-sided portable devices developed to overcome the disadvantages of microinvasive stratigraphic analyses. The potential of this approach on artworks, including wall paintings and a few examples of painted canvas, is described in the literature. In this study, NMR profiles of painting on canvas were examined by analyzing transverse relaxation time data by T₂ quasi-continuous distributions and the results compared with standard stratigraphic cross-sections analysis. Combining signal intensity and T₂ quasi-continuous distributions, the identification of textile, preparatory, and paint layers was enhanced. The diction “NMR stratigraphy” for these inhomogeneous layered artworks is also discussed. Indeed, unlike the stratigraphic cross-sections, NMR profiles provide information on a volume (flat slice), rather than on a surface, and the collected signal can derive from nonuniform and partially overlapping layers. This study paves the way for extensive investigations on relaxation time quasi-continuous distributions in various binder/pigment mixtures in order to improve the reliability of NMR profile as an innovative, non–invasive, and nondestructive method for analyzing paintings on canvas.     

An improved method of protein localization in artworks through SERS nanotag-complexed antibodies

There are several analytical techniques currently in use in conservation science to identify proteins in artworks. However, as is often the case, the determination of the exact location of a protein in a complex layer structure is challenging due to difficulty in separating layers. Localization of the protein in a cross-section has been demonstrated through attenuated total reflectance-Fourier transform infrared mapping and imaging as well as chemiluminescent and fluorescent-labeled antibodies; however, these techniques either require expensive instrumental setups or produce results that can be challenging to interpret. This paper will present research using surface-enhanced Raman scattering (SERS) nanotags complexed to secondary antibodies in conjunction with primary antibodies for the localization of ovalbumin, collagen, and casein in cross-sections from replicas and artworks containing avian egg, animal glue, or casein binders. The advantages of this technique over the others are (1) the detection method is a Raman microscope, equipment found in several museum laboratories; (2) the distinctive SERS signal from the nanotag increases the detection limit of the protein and decreases the interference from other colorants present in the cross-section layers; and finally, (3) the large (120 nm) SERS-labeled antibodies do not appear to penetrate into the cross-section, eliminating the risk of spurious signal and misidentification. Any agglomerations due to surface texture are clearly visible under normal illumination and can be avoided easily during analysis or removed with a light polish. This technique not only allows protein localization in multilayered samples while preserving the stratigraphic information but also retains the protein specificity of the antibody approach.     

TG-MS characterization of the reaction products of cadmium yellow and malachite artist’s pigments

The deleterious interaction of some traditional sulphide artists pigments and copper ions results in the formation of black copper sulphides, in particular, covellite (CuS), and, hence, the discolouration of valuable artworks. In this paper the interaction of malachite, a source of copper(II) ions, with the pigment cadmium yellow, a sulphide pigment comprising of a solid solution of cadmium and zinc sulphides, is investigated by XRD and TG-MS. XRD showed the presence of the copper sulphide and cadmium carbonate phases, produced by a simple ion exchange mechanism. TG-MS showed the complexity of the range of metastable phases produced. The identification of these phases, however, requires further work.     

Derivatisation using m-(trifluoromethyl)phenyltrimethylammonium hydroxide of organic materials in artworks for analysis by gas chromatography-mass spectrometry: unusual reaction products with alcohols

The quaternary ammonium reagent m-(trifluoromethyl)phenyltrimethylammonium hydroxide (TMTFTH) has gained widespread use for the derivatisation for GCMS analysis of organic materials found in artists' materials, such as oils, plant resins and waxes. This paper discusses products formed from reactions of TMTFTH with alcohols--including fatty alcohols, hydroxyacids, terpenes and glycerol--that have diagnostic value in the analysis of samples from artworks. In addition to methyl ethers, (trifluoromethyl)phenyl ethers were formed to variable degrees from the different types of alcohol. The products were identified from their EI mass spectra. An understanding of these multiple reaction products is important for the interpretation of GCMS data from complex samples, especially in the case of polyfunctional alcohols such as glycerol, which forms a number of methyl, (trifluoromethyl)phenyl and mixed ethers. The significance of the reaction products, and the relative advantages of TMTFTH as compared to alternative ammonium and sulfonium methylating reagents, are discussed.     

Mechanistic implications of plastic degradation

Plastics have become an indispensable ingredient of human life. Their enormous use is a matter of great environmental and economic concern, which has motivated the researchers and the technologists to induce different degrees of degradations in the plastic. These degradations can be induced in a better way if their mechanistic implications are properly understood. A better understanding of the mechanism for these degradations is also advocated in order to facilitate the proper use of the alternative waste disposal strategies. In view of the facts concerning the plastic degradation, in this review article, we have discussed various types of polymeric degradations along with their mechanisms, which include photo-oxidative degradation, thermal degradation, ozone-induced degradation, mechanochemical degradation, catalytic degradation and biodegradation. This article also discusses the different methods used to study these degradations and the factors that affect these degradations.     

Analytical characterization of polymers used in conservation and restoration by ATR-FTIR spectroscopy

In the last few decades many new polymers have been synthesized that are now being used in cultural heritage conservation. The physical and chemical properties and the long-term behaviors of these new polymers are determined by the chemical composition of the starting materials used in their synthesis along with the nature of the substances added to facilitate their production. The practical applications of these polymers depend on their composition and form (foam, film, sheets, pressure-sensitive adhesives, heat-seal adhesives, etc.). Some materials are used in restoration works and others for the exhibition, storage and transport of works of art. In all cases, it is absolutely necessary to know their compositions. Furthermore, many different materials that are manufactured for other objectives are also used for conservation and restoration. The technical information about the materials provided by the manufacturer is usually incomplete, so it is necessary to analytically characterize such materials. FTIR spectrometry is widely used for polymer identification, and, more recently, ATR–FTIR has been shown to give excellent results. This paper reports the ATR-FTIR analysis of samples of polymeric materials used in the conservation of artworks. These samples were examined directly in the solid material without sample preparation.     

Non-destructive analysis of museum objects by fibre-optic Raman spectroscopy

Raman spectroscopy is a versatile technique that has frequently been applied for the investigation of art objects. By using mobile Raman instrumentation it is possible to investigate the artworks without the need for sampling. This work evaluates the use of a dedicated mobile spectrometer for the investigation of a range of museum objects in museums in Scotland, including antique Egyptian sarcophagi, a panel painting, painted surfaces on paper and textile, and the painted lid and soundboard of an early keyboard instrument. The investigations of these artefacts illustrate some analytical challenges that arise when analysing museum objects, including fluorescing varnish layers, ambient sunlight, large dimensions of artefacts and the need to handle fragile objects with care. Analysis of the musical instrument (the Mar virginals) was undertaken in the exhibition gallery, while on display, which meant that interaction with the public and health and safety issues had to be taken into account. Experimental set-up for the non-destructive Raman spectroscopic investigation of a textile banner in the National Museums of Scotland     

The Odor Value Concept in the Formal Analysis of Olfactory Art

In the past 15 years, there has been a tremendous increase in the emergence of olfactory artworks despite the traditional skepticism with respect to scents as subjects of art. This essay submits that this skepticism lacks aesthetic justification; art is what is accepted as such, and olfactory art is in fact already well accepted as an art form by the general public. However, there exists no methodological tool for the formal analysis of olfactory artworks. The essay suggests such a method, based on odor values; this is elaborated using the fragrance ‘Dune’ (Dior, 1991), and is compared with a purely visual approach to the same subject. This new concept allows for the derivation of simple compositional sketches and is then exemplified by the formal analysis of three more recent olfactory artworks: Elodie Pong/Roman Kaiser, ‘White‘ (2016), Martynka Wawrzyniak/Yann Vasnier, ‘Tears (T6)’ (2012), and Christophe Laudamiel, ‘heat’ (2003).