Mattel’s Barbie dolls are the most famous and iconic dolls since 1959. Today, they are being collected by individuals and often conserved in museum environments due to their cultural and historical significance reflecting everyday life and historical events. However, just like most museum objects made of plastics, both historical and more recent Barbies show evident degradation phenomena. Firstly, Barbies were made of plasticized polyvinyl chloride (PVC), affected by the migration of additives—mostly the plasticizers—from the bulk phase to the outermost layer, appearing as a tacky and glossy exudate. Over the years, Barbies’ polymeric constituents were replaced with more stable ones, whose additives migration is limited compared to PVC, even though still occurring. Multispectral photography in visible (VIS) and ultraviolet (UV) light, microscopical observations in VIS and UV light, and Fourier Transform Infrared spectroscopy in the Attenuated Total Reflectance mode (FT-IR ATR) were performed to characterize the constituent materials of 15 Barbies produced between 1959 and 1976, bridging the information gap on their processing over the years. The micro-invasive multi-analytical approach also allowed for the characterization of the degradation products, permitting the reference of the exudated compound to the specific bulk polymer.

This paper presents the results of non-invasive diagnostic investigations performed on the canvas oil painting depicting the Marian iconography “Mater Boni Consilii”. The painting, whose author and origin are unknown, was found in an old shop in Florence following the overflowing of the Arno River in 1966. In order to define the importance of the artwork, a multianalytical analysis was performed on the painting, using multispectral imaging, X-ray fluorescence (XRF), and Fourier Transform Infrared Spectroscopy (FTIR-ATR) for the definition of materials, with a particular focus on the identification of pigments. The results allowed for the drawing up of a color palette, composed mainly of ochre and earth pigments, cinnabar, lithopone, lead white, and ultramarine pigments. After cross-referencing the acquired information with other findings, it was possible to place the painting in the period between the end of the XIXth and the beginning of the XXth centuries.

Organic solvents are commonly used in restoration treatments, including chromatic reintegration on polychrome artworks. They are often toxic, and their vapors have a high impact on the environment and restorers, possibly causing pathological conditions. Therefore, this study aims at defining a new green solvent that can be used for chromatic reintegration, maintaining the volatility and the desired physical–chemical properties. The dispersion forces value (Fd) of ethyl lactate was taken as reference for a comparison with the proposed solvents, since it was found to be the most used solvent for the dilution of Maimeri Restoration Colors (MRC) and Gamblin Conservation Colors (GCC). Based on the Teas fractional parameters, six solutions based on acetals and ethanol have been proposed and tested. They were mixed with both MRC and GCC, and applied on prepared canvases. The difference between the backgrounds made with reference solvent and the one made with the proposed alternatives was evaluated through spectrocolorimetric measurements. Fourier-transform infrared spectroscopy in the attenuated total reflectance mode (FTIR-ATR) was performed on the applied layers to evaluate the presence of residual solvent inside them, while the volatility of the solvents was assessed by performing gravimetric analysis. The study showed that acetals, acetals’ blends, and acetals–ethanol mixtures represent suitable alternatives for the dilution of Gamblin Conservation Color and Maimeri Restoration Colors.